Show Notes
We are right now in a moment when the roaring twenties of our time have finally begun to roar. And the weltgeist is screaming at the top of its voice, about a perversion which we have allowed to fester among the members of the ruling class through our conformity for much too long. We have forgotten to remind them of our dissatisfaction. Thus every screen and newspaper now displays for all to see Die Wiederkehr des Verdrängten.
Lacan said once apropo hedonism that there is nothing subversive about losing one's shame. He did this to counter a prevailing myth of his times. It was believed by many in the 60s that perversion was more subversive than hysteria. The idea was that a pervert in his lack of shame can show you how man really is. Unrestrained by normative emotions about right or wrong the cynic tells a higher truth, and makes the great escape from the law without getting caught. But analysis showed that perversion was not “simply an aberration in relation to social criteria, an anomaly contrary to good morals, although this register is not absent, nor is it an atypicality according to natural criteria, namely that it more or less goes astray from the reproductive finality of the sexual union. It is something else in its very structure. The exhibitionist, the pederast, or the sadist does not care about the wishes of the other, the prostitute, the child is a puppet in their fantasy. Authenticity is neither an issue nor a problem in perversion. Only the neurotic and the psychotic worries whether the Other's desire and manifestation of lust is authentic. Freud, who through his practice had been granted access to an empirical archive which contained statements and confessions of the vices of the Wienese ruling class, had drawn a similar conclusion. Practicing analysis with non metaphysical entities, that is to say bodily analysands with real trauma. Hurting people rather than eternal archetypes of human nature or dolls in the astral realm he realised that; “never is the unconscious as inaccessible as in perversion.” For how could they learn about their own becoming when love is an unfortunate project of wanting to be that which the beloved loves, and they instead in their isolation never take the time to wonder what the others might dream about. At the same time that Freud came to these conclusions Arthur Schnitzler's a few blocks away in 1926 wrote the short shorty Traumnovelle which was the basis for Kubrick's Eyes Wide Shut. Here the primitive horde dressed in black tie organises enjoyment around the violation of a prohibition, trying to gain access to an impossible thing, Das Ding, a tabu driven jouissance. But this totem feast only fixes the tabu as to identify the violation of the prohibition and libidinally charge it, it does not transcend it and the pervert never breaks free, hears instead the name-of-the-father even more intrusively, hears his law as if it was his own. The rituals performed in the manual of Crowley or the Saturnalia brotherhood are a para-praxis, they are pseudo activities, designed to fool the perpetrator. "Do what thou wilt shall be the whole of the Law" simply means that the pervert tries to resolve the conflict between desire and Law by making desire the law of his acts. The pervert's enjoyment consists in challenging the law, but not with the intention of changing it. The pervert is not a revolutionary. The masks, the capes, the jargon and the carnivalesque celebration of the forbidden, obfuscates and eventually forbids the unconscious symptom from expressing itself, that the masters are slaves to their own desires by choice. The time has come to take off their masks and lead them with eyes wide open to the real name of the father that is not the analyst's couch but the guillotine, the garrote of the people that must slowly press against the marrow structure of this exploitation.
More from The Return Of The Repressed.
We had no idea that this was were Jung would take us, but here we are again, at the two major brinks of most parapolitical research the richest Funders and MKUltra, beyond which lies nothing but the hadal zone. We are nonetheless so happy that you have come this far with us and that you pushed us to do it. We did a lot this year together, Lebensborn, Mesmer, The Männerbund, Slave breeding, Renaissance cryptography and Rune Magic in Atlantis the list goes on. Thanks for all your comment and appreciation, this 99th episode, the longest to date and perhaps the most eye opening. If you eventually find you self agreeing after struggling through it all, we ask that you leave us more comments, that you share the episode on the internet and tell others in person and then in return we will promise you a third season. The music tonight is a lot of medieval dungeon synth from Fief aka Out of Season, dark religious industrial ambience from the many talented creators over at the Cryo Chamber label, two tracks from Ellen Sundberg paraphrasing Kjell Höglund one of the greatest Swedish prog and folk troubadours, and finally samples from the Babylon Berlin soundtrack. Cover art walk-through: I think this might be one of my best so far. The background is a painting of the famous motif "the fall of icarus" the original is from Hendrick Goltzius during the Northern renaissance late 1500s. I could not find out if he also did this version with the black sun or if that is latter paraphrase. Then we have three colorized portraits of an old Jung, a young Himmler and a midlife Dulles. Dulles is smoking a pipe to which I added some colorful smoke effects trying to make it look like he is chasing the Völkisch dragon. A dragon being slained by St George painted by Gustav Adolf Cloß for his book Vier Vorträge über Wappen in 1937. It is an example of the NSDAP's attempt to symbolically fuse the supposed pagan Aryan religion with christian motifs, a theme which will be heavily dealt with in this episode. Under Jung is a Norwegian propaganda poster from 1943 when the Waffen SS began to be portrayed as mythical soldiers of the past either as Vikings (as in this case) or Goths or Teutons. I will read almost in full a speech transcript when Himmler lays out this Jungian historico-relativist tale. Finally Sebbe managed to connect this story to the arch protagonist of the entire podcast and thus his plaza is depicted in the middle, as it stands on 22 acres between 48th Street and 51st Street in the Midtown Manhattan neighborhood of New York City, you can guess who for now dear listener. We want to again give a thousand thanks to all of you hundreds of patreons and thousands of subscribing listeners who have made this possible over the last three years! We would never have learned so much without you. No AI writing, research, editing, music, recording or cover art is a lot of work after all.
On Aug 12, 1628, the Swedish council wrote to the King: the mighty warship Vasa sank just minutes into its maiden voyage. It listed to port, water poured through , and it sank with sails & flags still flying. Most aboard died. The council had no explanation for how this happened. The Vasa was a hyperbolic expression in marine architecture — never meant to sail. So why build it? The answer lies in the irrationalism inherent to hierarchy, the Führerprinzip: follow orders, don't think. The Gothic King is always right, dresses blind obedience in silk pride. Another culprit was Johannes Bure, court occultist and admirer of John Dee. Bure believed in rune magic, apocalyptic prophecies, and a "Third Reich of the Holy Ghost" [sic!] rising from the North. He helped convince the boy king to wage war against the Catholic Church, at any cost. Bure spent decades decoding divine numbers, lost child after child and wept in his diary asking forgiveness for all the blood spilled in the war he helped cause. The Vasa wasn't just a shipwreck, it was the physical sinking of a kingdom drunk on the occult, authority, and war. A late Happy May Day to you all!
Another cover done, another ep edited, Reid n Sebbe have calibrated Nautilus, we we will now descend into the rune codes used by the generals of the 30 year war, the commercial origins of alchemy, how the Gothic Silver Bible was stolen in the 90s and much more. Welcome ye who have waited in patience!
An episode about Goths and Atlantis featuring the parapol goat Reid does not really need an introduction but you deserve one anyway. I will set the stage by talking about language magic and how it developed during the Renaissance after the kabbalists fled Spain. We will trace the origins of this Word and practice back through the eras of the neoplatonic logos doctrine. Reading early church fathers, apostles, desert dwelling mystics and my absolute favorite women among the Beguines and Beghards during the High Middle Ages. After this extended dreamy first act which might lull you to sleep in the best of ways, or have you thirsting for more in the night under this still quite full moon. Sebbe, Reid and I will tell you about the OG modern Atlantis researcher, Olaus Rudbeck (1630-1702). Together with this mad genius we will go through strange runic translations of old Greek myths, newly arrived Icelandic sagas, as spoils of war from the continental 30 year war fill up the shelf of the Collegium of Antiquites, with the most priced being the Gothic Silver Bible.
Tonight Matt, Sebbe and I guide you through some 200 years of law enforcement history as we continue our investigation of the origins of the modern fuzz, the creation of Interpol, and the logic behind policing under this newfangled thing called capitalism.