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25 July 2009

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ce399

It is interesting to note the uncritical use of the word 'improve' in this Ha'aretz headline: Eugenics in Israel: Did Jews try to improve the human race too?

Conspiracy Archive, which has linked this entry to their blog, had archived this Ha'aretz story on their main page several months ago.

The concept of the 'degenerate,' which has its origins in Zionist ideology from the writings of Nordau, was subsequently appropriated by the Nazis who were responsible for the complete destruction of German modernism in art during the 1930's and 1940's. The concept of the degenerate was also one of the keystone principles of race hygiene and eugenics.

The brilliant and sensitive Ernst Ludwig Kirchner (one of the founders of German Expressionist painting), for example, was obliterated by World War I and soon afterward by the Nazi regime. Hundreds of his works were destroyed, he was run over by a car, then committed suicide.

Make no mistake: They are destroyers of culture, destroyers of beautiful people like Kirchner and have coerced and manipulated millions of brainless and spineless Mannikin termites on behalf of their absurdist agenda, which is global Gotterdammerung.

Degenerate indeed.

Nordau's major work Entartung (Degeneration), is an essentially philistine and moralistic attack on so-called degenerate art, as well as a polemic against the effects of a range of the rising social phenomena of the period, such as rapid urbanization and its perceived effects on the human body.

Nordau begins his work with a 'medical' and social interpretation of what has created this Degeneration in society.

Max Nordau, co-founder of the World Zionist Organization:

http://en.wikipedia.org/wiki/Max_Nordau

Entartete Kunst, 1937 (Degenerate Art)

http://en.wikipedia.org/wiki/Degenerate_art

ce399

Edwin Black's War Against the Weak: Eugenics and Americas Campaign to Create a Master Race completely omits the history linking Zionism and eugenics. This omission occurred despite Black's claim to having fifty researchers on his staff. Similarly, in The Beast Reawakens, Martin A. Lee omits the bizarre historical interplay between the Nazi swastika and fascist Zionism.

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