A Proper Gander At Propaganda

Truth Transcends Community

"Propaganda in the United States is spread by both government and media entities. Propaganda is information, ideas, or rumors deliberately spread widely to influence opinions. It's used in advertising, radio, newspaper, posters, books, television, and other media."  -  Propaganda in the United States - Wikipedia

"A man without a government is like a fish without a bicycle.” Alvaro Koplovich

Article index

Architecture and Ritual: How Buildings Shape Society

 

Architecture As Medium of Government

Government is religion and religion is a form of government. Tithes and taxes, fees, fines, sins and crimes, the soul's threatened eternal damnation and jail time. All are tools of social behavior control. All have long been used to tame the Natural human soul. Recreations of myth, or ritual, require settings. Architecture, interior design, costuming and the crafting of religious and governmental rites are all part of the production involved in putting on the historical contrived show we know as civilization.

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Architecture and Ritual: How Buildings Shape Society By: Peter Blundell Jones

"Architecture and Ritual explores how the varied rituals of everyday life are framed and defined in space by the buildings which we inhabit. It penetrates beyond traditional assumptions about architectural style, aesthetics and utility to deal with something more implicit: how buildings shape and reflect our experience in ways of which we remain unconscious.

Whether designed to house a grand ceremony or provide shelter for a daily meal, all buildings coordinate and consolidate social relations by giving orientation and focus to the spatial practices of those who use them. Peter Blundell Jones investigates these connections between the social and the spatial, providing critical insights into the capacity for architecture to structure human ritual, from the grand and formal to the mundane. This is achieved through deep readings of individual pieces of architecture, each with a detailed description of its particular social setting and use. The case studies are drawn from throughout architectural history and from around the globe, each enabling a distinct theoretical theme to emerge, and showing how social conventions vary with time and place, as well as what they have in common. Case studies range from the Nuremberg Rally to the Centre Pompidou, and from the Palace of Westminster to Dogon dwellings in Africa and a Modernist hospital.

In considering how all architecture has to mesh with the habits, beliefs, rituals and expectations of the society that created it, the book presents deep implications for our understanding of architectural history and theory. It also highlights the importance for architects of understanding how buildings frame social space before they prescribe new architectural designs of their own. The book ends with a recent example of user participation, showing how contemporary user interest and commitment to a building can be as strong as ever."

source: https://www.bloomsbury.com/us/architecture-and-ritual-9781472577498/


Ritual and Display in Venetian Architecture - Part 1

Ritual and Display in Venetian Architecture - Part 1  source: AA School of Architecture

"The wider implications of the role of architecture in reinforcing political ideologies make this a relevant focus of our concerns today as well as a subject of compelling historical interest."

"A conference examining the complex relationship between ritual activity and its architectural setting, using the example of that most ceremonial of cities - Venice. The proceedings focus on the Renaissance and the Baroque periods: when architects reacted most self-consciously to the theatrical dimensions of their art and when all the elements of architectural design, from perspective to iconography, were harnessed in the interests of dignifying the townscape. The wider implications of the role of architecture in reinforcing political ideologies make this a relevant focus of our concerns today as well as a subject of compelling historical interest. Deborah Howard - Public Spaces as Settings for Ritual Activity."  source: AA School of Architecture


Modern Bread and Circus, Architectural Ritual: The Football Stadium Show

Contemporary mass media produced rituals.

Halftime shows and even staged National Anthems and needless pledges of allegiance act to indoctrinate the mass audience into an endlessly socially reinforced, easily malleable, patriotic mood. Televised events of all types are modern rituals. Most in the audience do not realize they are passively participating in religious, mythic behavior.

Some ritual is more overt and some more subtle. Even News events are little more than ritualized exercises with trusted News journalist acting as modern rabbi and priest.

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Patriotic Genuflection Is Not Real Protest: It Is More Respectful Than Standing, Not Less

"Taking a Knee" means you are showing more respect for God or fake Nation State, not less.

"Genuflection (or genuflexion), bending at least one knee to the ground, was from early times a gesture of deep respect for a superior. Today, the gesture is common in the Christian religious practices of the Anglican Church, Lutheran Church, Roman Catholic Church, and Western Rite Orthodox Church. The Latin word genuflectio, from which the English word is derived, originally meant kneeling rather than the rapid dropping to one knee and immediately rising that became customary in Western Europe in the Middle Ages."

source: https://en.wikipedia.org/wiki/Genuflection

see also:  17 Best Take A Knee Tweets And Memes About Donald Trump's NFL ...

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image sources: Is it time for white NFL players to take a knee during national ...  •  Bishop Paprocki: Bow Only if You Cannot Genuflect | Courageous Priest

These football players could lie face down on their stomachs as "protest". 

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image source: Prostrate | The Catholic Catalogue

Prostrate: "...lying face down on the ground, as in token of humility, submission, or adoration."

source: Prostrate | Define Prostrate at Dictionary.com


Despite having easy access to the greatest library resource ever, most people use smart phone and similar technology to do little more than repeat fallacious ideas.


Welcome to the 21st Century: an age of digitally reinforced, hand held global ignorance.


"One of the most effective methods is the utilization of the group formation of modern society in order to spread ideas."

"What are the true reasons why the purchaser is planning to spend his money on a new car instead of on a new piano? Because he has decided that he wants the commodity called locomotion more than he wants the commodity called music? Not altogether. He buys a car, because it is at the moment the group custom to buy cars. The modern propagandist therefore sets to work to create circumstances which will modify that custom. He appeals perhaps to the home instinct which is fundamental. He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition of period music rooms designed by well known decorators who themselves exert an influence on the buying groups. He enhances the effectiveness and prestige of these rooms by putting in them rare and valuable tapestries. Then, in order to create dramatic interest in the exhibit, he stages an event or ceremony. To this ceremony key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before. The juxtaposition of these leaders, and the idea which they are dramatizing, are then projected to the wider public through various publicity channels. Meanwhile, influential architects have been persuaded to make the music room an integral architectural part of their plans with perhaps a specially charming niche in one corner for the piano. Less influential architects will as a matter of course imitate what is done by the men whom they consider masters of their profession. They in turn will implant the idea of the music room in the mind of the general public. The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea. Under the old salesmanship the manufacturer said to the prospective purchaser, "Please buy a piano." The new salesmanship has reversed the process and caused the prospective purchaser to say to the manufacturer, "Please sell me a piano." 

The value of the associative processes in propaganda is shown in connection with a large real estate development. To emphasize that Jackson Heights was socially desirable every attempt was made to produce this associative process. A benefit performance of the Jitney Players was staged for the benefit of earthquake victims of Japan, under the auspices of Mrs. Astor and others. The social advantages of the place were projected—a golf course was laid out and a clubhouse planned. When the post office was opened, the public relations counsel attempted to use it as a focus for national interest and discovered that its opening fell coincident with a date important in the annals of the American Postal Service. This was then made the basis of the opening. When an attempt was made to show the public the beauty of the apartments, a competition was held among interior decorators for the best furnished apartment in Jackson Heights. An important committee of judges decided. This competition drew the approval of well known authorities, as well as the interest of millions, who were made cognizant of it through newspaper and magazine and other publicity, with the effect of building up definitely the prestige of the development.  One of the most effective methods is the utilization of the group formation of modern society in order to spread ideas."

source: Propaganda (1928) by Edward Bernays


Architecture Provides The Setting For Authority's Theatrical And Ritualistic Displays of Power

Injustice For All

Consider mundane activities like serving on jury duty. We confuse sins with crime and punish and imprison each other over personal behavior choices. I for one refuse to participate in the obvious immoral "justice" system. Our legal system is one that clearly exists to serve itself and not humanity in general. The for profit legal and prison system is offensive and is a disgusting example of everything that is wrong with government and all of its needless crafting of endless law with ensuing taxes, fees, fines and jail time. Theatrical court room ritual is no substitute for common sense and human decency. We shouldn't be required to appear for jury duty under threat of punishment in the first place. Is that what freedom looks like? Are imposed pledges of allegiance and National Anthems rituals that show we are free or that do these enforced rituals show that we are mentally enslaved to an inhuman system?

The Psychology of Obedience and The Virtue of Disobedience  source: Academy of Ideas


1936: The Summer Olympic Bread & Circus Games, Nazi Style

"The 1936 Summer Olympics (German: Olympische Sommerspiele 1936), officially known as the Games of the XI Olympiad, was an international multi-sport event that was held in 1936 in Berlin, Germany. Berlin won the bid to host the Games over Barcelona, Spain, on 26 April 1931, at the 29th IOC Session in Barcelona (two years before the Nazis came to power). It marked the second and final time the International Olympic Committee gathered to vote in a city that was bidding to host those Games.

To outdo the Los Angeles games of 1932, Adolf Hitler had built a new 100,000-seat track and field stadium, six gymnasiums, and many other smaller arenas. The games were the first to be televised, and radio broadcasts reached 41 countries.[1] Filmmaker Leni Riefenstahl was commissioned by the German Olympic Committee to film the Games for $7 million.[1] Her film, titled Olympia, pioneered many of the techniques now common in the filming of sports. Reich Chancellor Adolf Hitler saw the Games as an opportunity to promote his government and ideals of racial supremacy and antisemitism, and the official Nazi party paper, the Völkischer Beobachter, wrote in the strongest terms that Jews should not be allowed to participate in the Games. When threatened with a boycott of the Games by other nations, Hitler appeared to allow athletes of other ethnicities from other countries to participate. However German Jewish athletes were barred or prevented from taking part by a variety of methods[5] and Jewish athletes from other countries (notably the US) seem to have been side-lined in order not to offend the Nazi government. Total ticket revenues were 7.5 million Reichsmark, generating a profit of over one million marks. The official budget did not include outlays by the city of Berlin (which issued an itemized report detailing its costs of 16.5 million marks) or outlays of the German national government (which did not make its costs public, but is estimated to have spent US$30 million)."

"The games were the first to have live television coverage. The German Post Office, using equipment from Telefunken, broadcast over 70 hours of coverage to special viewing rooms throughout Berlin and Potsdam and a few private TV sets, transmitting from the Paul Nipkow TV Station. They used three different types of TV cameras, so blackouts would occur when changing from one type to another."

source: 1936 Summer Olympics - Wikipedia


The Encyclopedia Of 20th Century Architecture

"n its broad coverage of architecture produced between 1900 and 2000, the providesa three-volume, English-language reference work for scholars, professionals, students, and the general public seeking a basic understanding of interdependent topics that define the production of architecture in the developed cities, countries, and regions of the world. Seeking the breadth and diversity of any encyclopedic endeavor, the project extends its coverage beyond the conventional study of prominent architects and their buildings to address important related facets of 20th-century architectural production that motivate architects and their clients and give form and meaning to their buildings.  Arranged in alphabetical order, the entries fall into three broad areas: persons, places, and architecture topics. Persons include architects and firms, critics, and historians; places include countries and regions, cities, specific buildings and sites, and unbuilt projects; architecture topics include materials and building technology, building types, stylistic and theoretical terms, schools and movements, architectural practice and the profession, and planning. Ranging in length from 1,000 to 4,000 words, each article is written for the well-informed general reader and signed by an established scholar or professional with expertise in the subject. In addition, each architecture topic and places entry includes a selected bibliography; each person’s entry includes a capsule biography, a list of selected works, and a selected bibliography. The bibliographies consist of standard works and recent scholarship to enable the student or scholar to expand his or her research. "

source: ENCYCLOPEDIA of 20TH-CENTURY ARCHITECTURE


Inspired Ritual

"In his drawing from 1971, titled The Room, Louis Kahn depicts two people within an interior that derives its shape from ancient Roman buildings. He was indebted to Frank Brown, the historian at the American Academy in Rome, who argued that the Romans fashioned rituals as the basis for constructing architectural spaces. I will show that Kahn developed a related theory of design founded on an ‘inspired ritual,’ illustrating this in The Room, which is an appropriate setting for the two figures involved in a conversation."

"Louis Isadore Kahn (born Itze-Leib Schmuilowsky) (March 5 [O.S. February 20] 1901 – March 17, 1974) was an American architect, based in Philadelphia. After working in various capacities for several firms in Philadelphia, he founded his own atelier in 1935. While continuing his private practice, he served as a design critic and professor of architecture at Yale School of Architecturefrom 1947 to 1957. From 1957 until his death, he was a professor of architecture at the School of Design at the University of Pennsylvania.

Kahn created a style that was monumental and monolithic; his heavy buildings for the most part do not hide their weight, their materials, or the way they are assembled. Louis Kahn's works are considered as monumental beyond modernism. Famous for his meticulously built works, his provocative proposals that remained unbuilt, and his teaching, Kahn was one of the most influential architects of the twentieth century. He was awarded the AIA Gold Medaland the RIBA Gold Medal. At the time of his death he was considered by some as "America's foremost living architect." "

sources: http://www.tandfonline.com/doi/abs/10.1080/13264820109478418  • Louis Kahn - Wikipedia

Kahn: "He Has His Own Logic & Order"

Louis Kahn architect  source: Archivio Nazionale Cinema d'Impresa

 


Ritual and Display in Venetian Architecture - Part 2

"The proceedings focus on the Renaissance and the Baroque periods: when architects reacted most self-consciously to the theatrical dimensions of their art and when all the elements of architectural design, from perspective to iconography, were harnessed in the interests of dignifying the townscape. "

Ritual and Display in Venetian Architecture - Part 2 source: AA School of Architecture

"A conference examining the complex relationship between ritual activity and its architectural setting, using the example of that most ceremonial of cities - Venice. The proceedings focus on the Renaissance and the Baroque periods: when architects reacted most self-consciously to the theatrical dimensions of their art and when all the elements of architectural design, from perspective to iconography, were harnessed in the interests of dignifying the townscape. The wider implications of the role of architecture in reinforcing political ideologies make this a relevant focus of our concerns today as well as a subject of compelling historical interest. Richard Goy - Ceremonial Architecture in the Doge's Palace."   source: AA School of Architecture


Recommended Reading

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The Creators: A History of Heroes of the Imagination

"The Creators is a non-fiction work of cultural history by Daniel Boorstin published in 1992 and is the second volume in what has become known as the Knowledge Trilogy. It was preceded by The Discoverers and succeeded by The Seekers.The Creators, subtitled A History of Heroes of the Imagination, is the story of mankind's creativity. It highlights great works of art, music and literature but it is more than a recitation or list. It is a book of ideas and the people behind those ideas. It encompasses architecture, music, literature, painting, sculpture, the performing arts, theater, religious expression and philosophy. It can be viewed as a companion to The Discoverers which chronicled the history of invention, exploration and technology. The Creators traces the creative process from pre-history Egypt to modern times and like The Discoverers, follows both a topical and chronological structure. Boorstin writes in "A Personal Note to the Reader", "After The Discoverers... "I was more than ever convinced that the pursuit of knowledge is only one path to human fulfillment. This companion book, also a view from the literate West, is a saga of Heroes of the Imagination. While The Discoverers told of the conquest of illusions - the illusion of knowledge - this will be a story of vision (and illusions) newly created..." If The Discoverers is the story of the inventive human mind then The Creators is the story of the searching soul. The work is in twelve major parts that have been grouped into four books."

source: The Creators - Wikipedia


Cathedrals of Culture - Wim Wenders, Robert Redford - Official Trailer | HD

Cathedrals of Culture - Wim Wenders, Robert Redford - Official Trailer | HD  source: moviepilotIndie