Alexander Dugin: Die Ideologie des Trumpismus wird die USA und die Welt verändern (Teil I)
https://rtde.online/meinung/232773-alexander-dugin-ideologie-trumpismus-wird/

Der russische Philosoph und Soziologe Alexander Dugin analyisert in einer Artikelserie den Trumpismus. Im ersten Teil der dreiteiligen Reihe zeichnet Dugin die jüngste US-Geschichte nach. Dugin beleuchtet das politische Umfeld, das die Entwicklung von Trumps Postliberalismus ermöglichte.

https://rtde.online/meinung/232773-alexander-dugin-ideologie-trumpismus-wird/

https://asiatimes.com/2017/09/twin-peaks-unveils-world/


Good bye, David.

Where you are, there will always be music in the air.

This is my tribute to Twin Peaks - The Return, published in 2017, during Trump 1.0, including even the US pull out of the INF treaty.

Surf the Kali Yuga again - and see how David was and will always remain peerless when depicting America as the darkest soap opera ever.

Rejecting Liberal Racism and Reclaiming True Identities

Alexander Dugin opposes liberal racism and globalist homogenization, emphasizing the richness of collective ethnic and cultural identities.

Read the article here:

https://alexanderdugin.substack.com/p/rejecting-liberal-racism-and-reclaiming

Constantin von Hoffmeister talks about his book MULTIPOLARITY! on Dr. Steve Turley's show. Starts at 25:16.

https://www.youtube.com/watch?v=-ch4msZ2Dxo

Gilbert Durand: Map of Imagination

Now, let's try to overlay Gilbert Durand's model of the three modes of imagination onto Guattari's functor scheme. Here's a brief reminder of Durand's main propositions:

Let's imagine the result of projecting Durand's ideas onto a scheme we'll try to explain below:

The central concept in his theory is the imaginaire (l’imaginaire), the root instance of imagination responsible for all forms with which human consciousness deals – from conceptual and mediated to immediate and sensory. When defining the imaginaire, Durand avoids identifying it with the subject or "I", preferring to talk about the trajectory, that is, what lies between the subject and object, defining both simultaneously. This instance can well be identified with Heidegger's Dasein and Guattari's Territory (T). In meaning, the imaginaire corresponds to the emergent "I".

Durand divides the content of imagination (the products of the imaginaire's activity) into three major groups (myths, archetypes, symbols, narratives) and two modes.

The two modes are diurne, the "day mode," and nocturne, the "night mode." The three groups (schemes) are heroic narratives, dramatic narratives, and mystical narratives. Diurne, the "day mode," includes only one group – heroic narratives. Nocturne, the "night mode," consists of two groups – dramatic and mystical. Both are "nightly," sharing certain common characteristics (of the mode) but differing in internal properties.

For Durand, it is crucial to distinguish precisely three groups of myths because their differentiation is based on their structural incommensurability with each other.

Durand correlates the three modes of the imaginaire with three dominant reflexes, inherent (according to physiologists) in a newborn. Dominant (according to A.A. Ukhtomsky) is characterized by the complete subordination of all other responses of the organism, which lead or could lead to the satisfaction (or alleviation) of the dominant need.

Gilbert Durand draws a very clever analogy between these three groups of symbols, dreams, and archetypes and three dominant reflexes. By the first year of life, a baby has a complete structure of the imaginaire, which will largely predetermine everything that happens to him in the future. All his future dreams, reactions, and the semantics of life events are laid down in the first year. This is quite a Freudian model, which Durand readily acknowledges.

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The first reflex is postural (the standing-up reflex and later walking), meaning the baby's impulse to stand (initially to sit). At six months, the child begins to sit up. His spine straightens, and he faces the world. He essentially becomes involved in the diurnal mode. Around him, adults walk, he starts to evaluate their height, fears falling because one who stands can fall, unlike one who still lies down. The figures of adults are images of the diurnal mode, their observation generates images of giants and titans. It was this highly developed diurnality that led medieval architects to build Gothic cathedrals and modern Americans to construct skyscrapers.

The diurnal functioning of the imaginaire is responsible for constructing idealistic systems. In essence, high culture, the Logos itself, is the product of this mode. In Guattari's scheme, this is obviously associated with the Universe (U). If there is a priority development of such a diurnal mode, we are dealing with a strictly idealistic type of personality, or in the extreme case, with paranoia. The empirical subject no longer distinguishes between itself and the sphere of ideas, shifting the center of gravity to the Universe, to the detriment of other functors.

The other reflex associated with the mode of mystical nocturne is the nutritive (nutritional) or digestive reflex. A newborn human being becomes acquainted with this reflex even earlier. As soon as it is born, it begins to eat and does not stop doing so until the end of its life. To eat means to fully incorporate something else into oneself, and what you eat then becomes part of you. The act of eating is an assimilation process. The little human drinks mother's milk, and thus, the external world enters into him and becomes his internal world, him. He sees no division in this; he sees a mystical moment of union and experiences immense pleasure from it. Because the act of eating food is a specific constitutive shock for the human being. Essentially, it is a reconciliation with time and with death, an overcoming of them (albeit illusory).

The relationship with food is a paradigm for relationships with the matters of the external world. It's no coincidence that in Lévi-Strauss's system, the metaphor of stages and methods of food preparation is taken as the basic algorithm of culture.

This mode of the imaginaire would logically be associated with Guattari's Flow functor (F). Indeed, it's through food that the emergent "I" makes contact with what lies at the boundary of and just beyond the Territory. Food is primarily a transitive object. It's no longer parts of the external world – animals, plants, berries, etc., but not yet aspects of the internal, digestive, assimilating experience of the inner "I".

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The mystical nocturne mode is responsible for the imaginaire's formation of matter images. Here, the materiality of the Flow is particularly accentuated, becoming a strong attractor of the imaginaire, generating series of material fantasies, desires, and intense bodily appetites.

This mode is opposite to the diurnal mode and the postural reflex. Therefore, in many cultures – particularly among the Greeks and Romans – food was consumed while lying down. Also, until a certain time, a baby lies in the arms of their mother (nurse).

In the extreme case, the mystical nocturne leads to the atrophy of the higher idealistic layers of consciousness. This type of pathology corresponds to a wide spectrum of schizophrenia. It should be noted that Guattari himself and his co-author Gilles Deleuze had a great sympathy for this orientation, from which comes their prescriptive concept of schizo-masses. In politics, this dispersion of the imaginaire across the Flow and the fusion of consciousness with attractive materials corresponds to democracy and an egalitarian society. In the extreme case, consciousness no longer understands that it deals with transitive objects, perceiving them as the norm and avoiding any ideational intrusions from the Universe. The monstrous becomes commonplace.

The third mode, according to Durand, is the dramatic nocturne. It is associated with the copulative reflex, i.e., the reflex of copulation. It is believed to be present even in infants (an axiom for Freud) and manifests through their constantly repeated rhythmic gestures, for example, tapping or shaking a rattle. Any child's movement that is repeated multiple times relates to the copulative reflex one way or another. The repetition of the same thing signifies the reproduction of a binary code – yes-no, touch-not touch, here-there. This is not an absolute fusion, as in digestive monism, nor a one-time, unique, irreversible act – like breaking a toy (which is the classical model of a man, the masculine diurnal archetype, wanting to know what's inside a machine). The mystical nocturne glues all things together, while the diurnal mode dissects, breaks things apart, trying to reveal their eidos, and the copulative reflex shakes things.

Copulation is carried out through repeated rhythmic movements, which, according to Durand, are primary. The idea of copulativeness as rhythm, dance, and repetition lies at the foundation of the copulative reflex, fully manifesting in the mode of dramatic nocturne.

In our scheme, the dramatic nocturne falls into the functor of the Phylum of smart machines (Φ). Here, it becomes clear where the concept of the "desire machine" comes from. A machine is continuous repetition, which in turn is the code algorithm of copulation (according to Durand). The machine is desire as recursive reproduction. Therefore, the work of discursive reason, the construction of narratives, and the very cyclicity of language (where the same sounds, syllables, words, expressions, combinations are repeated endlessly) is the domain of machine erotics.

In "Noomachy," we associate the three modes of Durand's imaginaire with three Logoi – Apollo, Dionysus, and Cybele – which allows us to place them on Guattari's map as well. Further reflection on these correspondences (always approximate, metaphorical, and rhetorical) could be extremely productive. In particular, one could quote Proclus:

"The mind in us is Dionysian and truly is the image of Dionysus. Therefore, anyone who dissects it and, like the Titans, fractures its wholeness with deceptive division, evidently sins against Dionysus himself."

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Here, the Titans correspond to the Flow (F), while the Dionysian mind is located between the Universe (U), where it converges with Apollonian unity, and actual materiality. This is an extremely interesting approach to the erotic and even ecstatic nature of reason, which is often overlooked. The process of discursive thinking is a story, a narrative, a procession of Dionysus. If we proceed from the Φ functor on our scheme to the right, we come to the unifying nature of the Universe (anothesis in the divided line of Plato's "Republic"). If we go down (hypothesis in the divided line of Plato's "Republic"), we head towards the zone of the Flow, that is, to Tartarus, to the Titans. The desire machine is the sensual fragmentation of matters, meaning the psychoanalytic engine of the scientific worldview of the Modern Age – with its obsession with materialism, atomization, and the search for the smallest particles.

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Read the essay here:

https://www.arktosjournal.com/p/psychoanalysis-of-civilizations

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我向英雄坎迪斯·欧文斯表达完全的支持。马克宏本人是一个变态，致力于推动一切变态的物事。他的妻子是一名跨性别女性，也是一名跨性别猴子。他必须悔改。

— 亚历山大·杜金

"O feminismo ultra-esquerdista é um programa de libertação em relação ao sexo como construção social hierarquizante. E estamos falando, recordemos, não da libertação da essência feminina, mas da superação do sexo enquanto tal. Se é dada atenção às particularidades do outro sexo (Simone de Beauvoir, Julia Kristeva ou Luce Irigaray), é apenas para a relativização da masculinidade no caminho para a libertação. O desejo é assexuado. Liberdade, aqui, é liberdade em relação ao sexo".

- Aleksandr Dugin