Roland Barthes’ essay Death of the Author is required reading for many students who wish to study the humanities, such as English Literature. The general thesis of the essay is that narrative intent from the author cannot be discovered as it is impossible to know what the author’s thoughts were at the time of writing. Thus, Death of the Author can be understood to mean “art without the artist” – by the reader is the only true reading. The authority of the author, and therefore the author himself, perishes.
It is an interesting and incredibly influential essay that has played a large part in the development of critical theory over the course of the 20th century. Using this as a basis, it is my belief that we can take the theory further.
Rather than experience the art in a passive way, accepting what the author produces as is, and making our own interpretations from that point, I propose that we instead take an active participation in taking art from the artist and use it to our own ends. This is much easier to do thanks to the internet, and the emergence of meme culture.
It is from meme culture that murdering the author rises. 2016 can be seen as the black swan moment for this with the election of Donald Trump and the reignition of right-wing populism. In this moment, a new breed of meme was born, and it is one of these memes that I think best exemplifies how effective murdering the author can be.
In 2017 MGMT released their song “Little Dark Age”, a protest song lamenting the election of Trump. As the title suggests, the zeitgeist as the artist saw it was regressing back into a period of ignorance, ultimately taking the past 70 years of Progress with it. As recent as 2021 however, the meme remixes of this song have become increasingly popular. The song is used as a backdrop over footage designed to ignite reactionary pride – praise of Christianity and the heroic spirit are commonplace within this. My personal favourites are the ones that glorify the British Empire.
The popularity of the meme is an example of the remix culture unique to the internet, an issue with 21st century creations in general. 21st century art is stunted, and we can only find creative outlets in what has come before. This is a problem with all art and culture in the West, but has been commented on before so I will not belabour the point, except to say that our obsession with nostalgia seems to have left us bereft of creating our own cultural milieu and we are forced to stand blindly on the shoulders of giants.
We are indeed in a little dark age, and MGMT clearly felt that. It just isn’t the dark age they think it is. For a generation of people brought up in countries whose hour of greatness was over, and on whom all the world’s ills could be blamed, it is little surprise that a song like Little Dark Age could be used in the way it did. With lyrics like “Forgiving who you are for what you stand to gain/Just know that if you hide it doesn’t go away”, the song seems to be calling out to those who are trodden on by the current regime, such as political dissidents, delivering the Evolian message of riding the tiger. In the remix culture that epitomises internet trends, this is an example of destroying the meaning of a talented, well intended but misinformed artist and rewiring it for a different purpose.
No matter how MGMT feels about the current political and cultural climate, the fact remains that Little Dark Age is reactionary. It speaks of cultural degradation, inauthenticity – the sense of something being lost. MGMT have put their finger on the pulse, and their diagnosis seems apt – but the wrong patient has died.
Their anger is correct but misdirected, which is why we on the right see the song as something to be hijacked. We are not witnessing the death of the author here – instead, we are the author’s murderers. We are Lenin storming the Tsar’s palace in 1917. We take what is theirs and subvert it to our own ends.
The fact is that reactionary media, be it music, film, literature or television, is entirely hegemonic to the left’s favour. Reactionary discourse is repeatedly shut out of the Overton window, which is panned by boomeresque false idols on one side and comical Marxist villains on the other. In order to make a point, we must use the tools of the enemy. We must be the Vietcong stealing M16s from a US military base. We take from the author what is theirs, deconstruct their arms and create something entirely new using the skeleton of their works.
We are the murderers of the author and this is our strongest weapon.
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Orwell’s Egalitarian Problem
George Orwell’s Nineteen Eighty-Four is a book whose influence exceeds its readership. It resembles a Rorschach test; moulding itself to the political prejudices of whoever reads it. It also has a depth which often goes unnoticed by those fond of quoting it.
The problem isn’t that people cite Orwell, but that people cite Orwell in a facile and cliched manner. The society of Oceania which Orwell creates isn’t exemplified in any contemporary state, save perhaps wretched dictatorships like North Korea or Uzbekistan. It’s thus not my intent to draw on Nineteen Eighty-Four to indict my own society as being “Orwellian” in the sense of being a police state, a procurer of terror, or engaged in centralised fabrication of history. A world of complete totalitarianism of the Hitlerian or Stalinist kind hasn’t arrived (not yet at least), but Nineteen Eighty-Four still has insights applicable to our day.In Nineteen Eighty-Four, the protagonist, Winston, is suffocated by the miserable tyranny he lives in. The English Socialist Party (INGSOC) controls all aspects of Britain, now called Airstrip One, a province of the state of Oceania. It does so in the name of their personified yet never seen dictator, Big Brother. When Winston is almost at breaking point, he meets fellow party member, O’Brien. O’Brien, Winston thinks, is secretly a member of the resistance, a group opposing Big Brother. O’Brien hands Winston a book called The Theory and Practice of Oligarchical Collectivism. This book is supposedly written by Emmanuel Goldstein, arch-nemesis of Big Brother, and details the secret history and workings of Oceanian society, something unknown to all its citizens.
Oligarchic collectivism is the book’s term for the ideology of the Party in response to a repeating historical situation. Previous societies were characterised by constant strife between three social classes: the top, the middle, and the bottom. The pattern of revolution across history was always the middle enlisting the bottom by pandering to their base grievances. The middle would use the bottom to overthrow the top, install itself as the new top, and push the bottom back down to their previous place. A new middle would form over time, and the process would repeat.
INGSOC overthrew the top through a revolution, in the name of equality. What it actually achieved was collectivised ownership at the top, and so it created a communism of the few, not unlike classical Sparta. The rest of the population, derogatorily called “proles”, live in squalid poverty and are despised as animals. They’re kept from rebelling by being maintained in ignorance and given cheap hedonistic entertainment at the Party’s expense. INGSOC nominally rules on their behalf, but in reality is built upon their continual oppression. As Goldstein’s book puts it:
“All past oligarchies have fallen from power either because they ossified or because they grew soft. Either they became stupid and arrogant, failed to adjust themselves to changing circumstances, and were overthrown; or they became liberal and cowardly, made concessions when they should have used force, and once again were overthrown. They fell, that is to say, either through consciousness or through unconsciousness.”
In other words, the top falls either by failing to notice reality and being overthrown once reality crashes against it, or by noticing reality, trying to create a compromise solution, and being overthrown by the middle once they reveal their weakness. INGSOC, however, lasts indefinitely because it has discovered something previous oligarchies didn’t know:
“It is the achievement of the Party to have produced a system of thought in which both conditions can exist simultaneously. And upon no other intellectual basis could the dominion of the Party be made permanent. If one is to rule, and to continue ruling, one must be able to dislocate the sense of reality. For the secret of rulership is to combine a belief in one’s own infallibility with the Power to learn from past mistakes.”
INGSOC can simultaneously view itself as perfect, and effectively critique itself to respond to changing circumstances. It can do this, we are immediately told, through the principle of doublethink: holding two contradictory thoughts at once and believing them both:
“In our society, those who have the best knowledge of what is happening are also those who are furthest from seeing the world as it is. In general, the greater the understanding, the greater the delusion; the more intelligent, the less sane.”
It’s through this mechanism that the Party remains indefinitely in power. It has frozen history because it can notice gaps between its own ideology and reality, yet simultaneously deny to itself that these gaps exist. It can thus move to plug holes while retaining absolute confidence in itself.
At the end of Nineteen Eighty-Four, the Inner Party member O’Brien tortures Winston, and reveals to him the Party’s true vision of itself:
“We know that no one ever seizes power with the intention of relinquishing it. Power is not a means, it is an end. One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship. The object of persecution is persecution. The object of torture is torture. The object of power is power. Now do you begin to understand me?”
It’s here where I part ways with Orwell. For a moment, O’Brien has revealed to Winston one-half of what Inner Party members think. Doublethink is the simultaneous belief in the Party’s ideology, English Socialism, and in the reality of power for its own sake. INGSOC is simultaneously socialist and despises socialism. Returning to Goldstein’s book:
“Thus, the Party rejects and vilifies every principle for which the Socialist movement originally stood, and it chooses to do this in the name of Socialism. It preaches a contempt for the working class unexampled for centuries past, and it dresses its members in a uniform which was at one time peculiar to manual workers and was adopted for that reason.”
Orwell creates this situation because, as a democratic socialist, he’s committed to the idea of modern progress. The ideal of equality of outcome isn’t bad, but only the betrayal of this ideal. Orwell critiques the totalitarian direction that the socialist Soviet Union took, but he doesn’t connect this to egalitarian principles themselves (the wish to entirely level society). He therefore doesn’t realise that egalitarianism, when it reaches power, is itself a form of doublethink.
To see how this can be we must introduce an idea alien to Orwell and to egalitarianism but standard in pre-modern political philosophy: whichever way you shake society, a group will always end up at the top of the pile. Nature produces humans each with different skills and varying degrees of intelligence. In each field, be it farming, trade or politics, some individuals will rise, and others won’t.
The French traditionalist-conservative philosopher Joseph de Maistre sums up the thought nicely in his work Etude sur La Souveraineté: “No human association can exist without domination of some kind”. Furthermore, “In all times and all places the aristocracy commands. Whatever form one gives to governments, birth and riches always place themselves in first rank”.
For de Maistre the hard truth is, “pure democracy does not exist”. Indeed, it’s under egalitarian conditions that an elite can exercise its power the most ruthlessly. For where a constitution makes all citizens equal, there won’t be any provision for controlling the ruling group (since its existence isn’t admitted). Thus, Rome’s patricians were at their most predatory against the common people during the Republic, while the later patricians were restrained by the emperors, such that their oppression had a more limited, localised effect.If we assume this, then the elite of any society that believes in equality of outcome must become delusional. They must think, despite their greater wealth, intelligence and authority, that they’re no different to any other citizen. Any evidence that humans are still pooling in the same hierarchical groups as before must be denied or rationalised away.
This leads us back to the situation sketched in Goldstein’s book. What prevents the Party from being overthrown is doublethink. The fact it can remain utterly confident in its own power, and still be self-critical enough to adapt to circumstances. In Nineteen Eighty-Four, the former is exemplified in the vague utopian ideology of INGSOC, while the latter is the cynical belief in power for its own sake and willingness to do anything to retain it. But against this, no cynical Machiavellianism is necessary to form one-half of doublethink. A utopian egalitarian with privilege is doublethink by default. At once, he believes in the infallibility of his ideology (he must if he’s to remain in it), and is aware of his own status, continually acting as one must when in a privileged position.
How does this connect to that most Orwellian scenario, the permanent hardening in place of an oligarchic caste that can’t be removed? As Orwell says through Goldstein, ruling classes fall either by ossifying to the point they fail to react to change, or by becoming self-critical, trying to reform themselves, and exposing themselves to their enemies. Preventing both requires doublethink: knowing full well that one’s ideology is flawed enough to adapt practically to circumstances and believing in its infallibility. The egalitarian elite with a utopian vision has both covered. If you truly, genuinely, believe that you’re like everyone else (which you must if you think your egalitarian project has succeeded), you won’t question the perks and privileges you have, since you think everybody has them. That takes care of trying to reform things: you don’t.
Yet, as an elite, you still behave like an elite and take the necessary precautions. You avoid going through rough areas, you pick only the best schools for your offspring, and you buy only the best houses. As an elite, you also strive to pass on your ideology and way of life to the next generation, thus replicating your group indefinitely. Thus, you simultaneously defend your position and believe in your own infallibility.Could an Oceanian-style oligarchy emerge from this process? Absolutely, provided we qualify our meaning. The society of Nineteen Eighty-Four lacks any laws or representational politics. It has no universal standards of education or healthcare. It functions as what Aristotle in Politics calls a lawless oligarchy, with the addition of total surveillance. But this is an extreme. What I propose is that egalitarianism, once in power, necessarily causes a detachment between ideology and reality that, if left to itself, can degenerate into extreme oligarchy. The severe doublethink needed to sustain both belief in the success of the project and safeguard one’s position at the top can accumulate over time into true class apartheid. This is, after all, exactly what happened to the Soviet Union. As the Soviet dissident and critic Milovan Dilas, in his book The New Class: An Analysis of the Communist System, put it:
“Every private capitalist or feudal lord was conscious of the fact that he belonged to a special discernible social category. (…) A Communist member of the new class also believes that, without his part, society would regress and founder. But he is not conscious of the fact that he belongs to a new ownership class, for he does not consider himself an owner and does not take into account the special privileges he enjoys. He thinks that he belongs to a group with prescribed ideas, aims, attitudes and roles. That is all he sees.”
To get an Oceanian scenario, you don’t need egalitarianism plus a Machiavellian will to power, forming two halves of doublethink. You just need egalitarianism.
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Audubon’s Legacy of Birds and Tomfoolery
For someone who has anger issues, entering the Audubon’s The Birds of America exhibition was like entering a whole new world. Upon the entry, I saw giant screens showing details from Audubon’s work and I could hear quiet bird noises in the background. It was an incredibly calming experience, as much as one can consider stuffed birds and plates depicting birds massacring another bird calming. Naturally, this wasn’t the centre of the exhibition – it truly celebrated the skill and the creativity of the bird illustrator with a passion for nature.
The exhibition is running in the National Scottish Museum in Edinburgh from the 12th of February to the 8th of May of this year. It displays over 40 plates, each measuring almost one metre in height. Most of them have never actually been shown to the public before. It is split into 4 sections, each of them with its own theme – the first one, ‘Meet the Birds of America’ introduces the ‘world’s most expensive book’ and Audubon, in general.
John James Audubon was a 19th-century ornithologist and naturalist. He made a point of studying and cataloguing the birds he encountered in their natural habitats. A son of a sugarcane plantation owner and a chambermaid, he must have had a conflicted childhood. Audubon moved to the US to avoid participation in the Napoleonic Wars – and focused on birds instead.
The second section of the exhibition titled ‘An Art and a Science’ examines the influence of other illustrators on Audubon as well as the scientific, or sometimes quasi-scientific context. With the Industrial Revolution clashing with the Romantic movement, the transcendental search for nature was at its peak. The illustrations at the time were generally quite dull due to drawing from taxidermy and lifeless study skins.
Audubon, however, made a point of painting directly from wildlife, by personally hunting the birds and sometimes getting others to hunt for him. He would then paint the birds he gathered by pinning them into lifelike poses observed in the wild. This resulted in his art being vivid and life-like. He didn’t want to paint the taxidermied birds as he felt this would take away their lively spark from them. He was known for sometimes romanticising the birds he saw in the wild, for example when painting the Mocking Bird, in which a rattlesnake attacks birds in a bush, where it would be impossible for a rattlesnake to do so. Audubon would also sometimes add more human behaviours to the birds to allow the audience to relate to the birds. He was sometimes accused of not exactly presenting the truth.
The third part of the exhibition called ‘Audubon in Edinburgh’ explores the role of Scottish intelligentsia in ensuring that Audubon was embraced by the art society, after his rejection by the scientific community in Philadelphia. He befriended William Home Lizars and started engraving. Edinburgh was central to Audubon’s beginnings as a bird illustrator, making it extremely relatable to the Scottish audience, and it became somewhat a privilege to live in the same city where Audubon once found inspiration and was embraced by the art world.
The fourth section called ‘The Great Work: The Making of a Masterpiece’ deals with technical and artistic achievements. There are short films available for those whose attention span is longer than mine. However, this section also shows the bound edition of Birds of America which is extremely large (100 x 130 cm when open). Audubon insisted that the illustrations would show the birds life-size. Only two paper mills in the UK were capable of printing these, as he used a double elephant folio which is 96 x 66 cm. For those who are capable to rotate shapes in their head, this number will probably mean a lot.
The fifth section ‘Naturalist or Showman’ focuses on his contribution to discovering new species. Audubon identified 25 new species. This part of the exhibition explores some of the ‘controversies’, for example, Audubon was known for his strong belief in phrenology, the science which is now deemed ‘pseudoscience’ by some. Phrenology suggests that one can find details about someone’s personality from their skull shape. Seeing what kind of person he was, he probably used phrenology to mock his rivals. He was often accused of plagiarism and scientific fraud due to misidentifying some species and fabricating scientific data. Sometimes he invented new species to impress people who might then buy his work. Reportedly, he even stole the specimen of Harris’s hawk from his subscriber to then pretend he never knew him. He also lied in his own autobiography.
The sixth and final section of the exhibition ‘Birds of the World’ considers the impact of the modern era on the preservation and extinction of many birds. Some, such as the Carolina parakeet is entirely extinct – they used to always flock in large groups which made it easier for the hunters to kill them. They’ve also been considered a pest by farmers, which contributed to their demise. The exhibition ends on a thoughtful note, advising us to consider the repercussions of human behaviour on the natural world.
This prompted many conversations, such as the possibility to clone the extinct animals using their DNA tissue, however, so far, this was only tried with Pyrenean Ibex in 2003, but this one died not long after from lung defects. It might be a way forward in the future though.
The exhibition was a visual feast for the eyes and the birds are engraved and painted beautifully. The sheer skill of Audubon’s art is undeniable, and it trumps any accusations he received. He may not have been rigidly adhering to the scientific advice, but he created something that’s still worth looking at. Audubon inspired George Bird Grinnell to create the National Audubon Society in 1905 (although the idea goes back as far as 1895 when the first Audubon Society was created). The organisation protects the birds and their habitats in the Americas. If you like birds, you can donate here.
Audubon’s exhibition included a wealth of important items, including some study skins of birds and many taxidermized birds as well as his diaries, plates, and his hunting double-barrelled rifle. The exhibition is beautiful, thoughtful and certainly fascinating. For anyone who craves the return to transcendentalism and ancient values – it’s a feast for their eyes. If you fancy a trip to Edinburgh before the end of the exhibition on the 8th of May – make a point of stopping by at the National Scottish Museum to look at some birds, I strongly recommend it.
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An Interview with Fen de Villiers (Magazine Excerpt)
Sam: A common criticism I hear from people on our side of the ‘cultural divide’, regarding Vorticists and Futurists, is that the avant-garde, as a concept, is antiquated. Do you think that’s true, or do you think people are being a bit too pessimistic about its potential?
Fen: Being pessimistic and cynical is something inherent to people who are more on the conservative spectrum, but I think that one must look back to go forward; you can clasp at the fire and the energy of a certain group or a certain movement, and then you can run forward with that. I don’t think it’s a case of saying, you look back at them and stay there.
I think that it’s going to take time, movements, and art styles to take a while to mature and find a new way. I don’t at all believe that we simply just have to take on what they do and just reside there.
Sam: In other words: “it’s not worship of the ashes, it’s the preservation of the fire.”Fen: Yes, absolutely. I think what’s important is that if you are going to throw this forward – I mean, the futurists were, for example, very excited by the motorcar and the aeroplane and flight, because that was the period that they were in.
I don’t think we need to be excited by the aeroplane in the material sense. However, I think we can be excited about something. That visionary and Faustian spirit is deeply ingrained within our European psyche. I think we get excited about going on and going forward. I don’t think it’s a case of simply just regurgitating the platitudes or what they were doing. It’s about finding a place for that energy now.
It’s really about energy and celebrating force over death and decay; the latter of these is what the current regime works on. It’s the cult of the victim. This is not glorious stuff. This is not about going upwards towards something higher: this is about keeping you on the lowest level. For me, that is not how life is, that’s not how nature is: it is a lie. It’s not a culture that has any sort of fire in the belly. It doesn’t make you want to live.
This is an excerpt from “Blast!”. To continue reading, visit The Mallard’s Shopify.
Photo Credit: Fen de Villiers
