In the age of Machines, from Industrial design to architecture, forms adapted to the geometrical forms of metal and digital science

THE EUROPEAN BAROQUE - THE AGE OF THE MACHINE

The XIX century is the age of the machine and its digital languages, and Anglo-Saxon cultures, of science and money, where art becomes secondary and human senses are substituted by scientific machines. For that reason we enter in a very creative, eclectic age of art. The world changes fast. Man starts to construct an ecosystem of machines, which transforms totally our life. And artists feel often threatened by this new world in which his wor(l)ds are ignored, in a time in which a new language of power, money, rule supreme. The end of Christian ethics and the beginning of Monetary ethics marks this age and the literature and characters of the time.

England becomes the model of the world substituting France. The social pleasure-seeking goals of the Latin civilization leave way to the machine values of Go(l)d religions: progress, science, work - the reproduction of machines - and consume become supreme.

The forms of man are substituted by the forms and aesthetics of those machines, based in geometry. It is then when the organic schools of art, enter its ultimate baroque, from Beardsley in drawing till Gaudi and the modernist movement, at the end of the century, organic reaches a baroque zenith.

Yet finally the machine imposes its geometric forms, to the I=eye of man. Those eyes, the painters, become increasingly obsolete to metal-eyes, cameras, and finally imitate with Realist schools, or lineal, geometric schools the forms of the machine.

The european baroque is indeed the zenith and end of the different arts of the European Christian civilization, that for two millenia had established sacred art, and sacred ethics as the summit of a culture. Now that culture is invaded by the new ethics of metal, of war, and money, of machines and science, and the struggle to adapt to those ethics, create some of the master pieces of the European Baroque. It is of course, as all baroque forms of art, a pessimist, decadent school. Poetry reaches the zenith in the decadent school of Paris. Story-telling peaks in the nightmares of Kafka, and Poe. Novel and theater dies away in the Industrial centers of Germany and England, where literature decays, but flourishes expressing that same ethic struggle in the works of the Social nations of Europe, Russians, French, Irish and Spaniards, trace a series of masterpieces on the struggle of human ethics Vs the ethics of the machine...

And yet even if technological art multiples human art, and classic forms of human art, from literature to painting does not die, but it expresses the agony of mankind, and his linguistic evolution throughout Europe, specially in the Southern Cultures where digital languages and science, had been resisted for centuries. We talk of the European baroque, that follows the other 2 great European civilization, the young age of the Greek-Roman civilization, and the mature age of Christianity ended in renaissance. Now as the Industrial evolution spreads to Europe after the cataclysm of the Napoleonic wars, an age of decadence and suffering in art becomes the rule. The artist suffers the invasion of his sacred territory by digital languages, and enters a baroque age, which itself can be divided in 3 sub-periods. Let us study them now.

Old Age Of History: The 3 ages of the European baroque.

The age of Metal Bodies, or age of Europe, or I Industrial Evolution, or Verbal Human baroque, lasts roughly after the slow beginning during the XVIII century, from ±1770, when the Steam Machine is discovered till ±1914 when Planes start its military evolution and Europe enters in the war that will destroy the culture. The Dominant Civilization of this age is obviously, Protestant-Scientific Europe. The Metal Ecosystem based in Machines-bodies and Paper-Money as the language of information of society, dominates totally the  Human Ecosystem. We can distinguish in that European civilization 3 sub-species, based in the different degree of dominance of the main languages of History:

 

 - The British Empire, which is Money Dominant.

 - The French Empire, which is wor(l)d dominant, where art will reach its height.

- And the German empire which is War Dominant, and will be therefore the warrior nation that will provoke the final collapse of the European age of machines, when bodies of machines become over reproduced and are transformed into weapons during I and II World war (see cycles of war, in "Bio-economics").

We talk within that age of 3 ages, which are parallel to the 3 ages of its art, signaled by 3 basic 'bodies of machines', that expand the ecosystem of machines worldwide:

- I young Age: ±1770-1814: the age of Gunboats, with total dominance of England, and profusion of simple epic art and literature that consider money and science gifts of God.

-  II Age:1857-71: the age of Railroads, the mature age of the civilization of Bodies of machines, when Europe reaches the height of its power, and the civilization expands to the continent.

- III Age:1914-45: The age of cars, Tanks (the top predator weapon car) and the first Planes, the age of decadence of Europe, and his baroque age in culture, since new external nations (Japan, America, Russia) are taking over, in the evolution of machines, and will dominate the world to come.

Samples of the 3 ages in Painting and non-fiction literature.

Let us then analyze the 3 main periods of this Industrial age, with works of the epic, realistic, and baroque age of modern Europe, before the I and II World War extinguished the Northern European culture mainly with English art.

The epic age of science and machines, is represented by the idealistic paintings of William Blake, with his 'god-scientist', 'The creator".  What science was about to create, however, will not be a world of pleasures, but of iron, coal, pollution, slave-work for children and the poor.  So as the XIX century advances, bringing new wars and endemic poverty, artists abandon the romantic vision of science. It was time to show what those machines really were, and what their effects were in mankind.

We enter the realist age of Modern Europe. Some artists will show the machines of this age, in a realistic style, full of smoke and speed  'Turner'; 'Rain, wind and speed'. Some will try to fight the realism of photography with new depths of visual perception [Impressionism].

Soon the world was covered by bodies of machines, and the most expensive of them, were weapons. So weapons were used in unending wars, in which railroads, planes, tanks and artillery will massacre human beings. Artists finally will gather together, against the industrial evolution in the movements of the -isms, from nihilism to expressionism, to cubism. It is the baroque age of Modern Europe.

Some artists will show the poverty and suffering of the poor, mainly in continental Europe, where the propaganda in favor of machines is not so extended [i.e. 'Potato eaters' by Van Gogh]. Some will escape in search of forgotten paradise, or inward in the self-analysis of their spirit, both in literature as well as in painting [Gaugin, van Gogh, symbolist poets, Poe, etc.]. The decadence of human art, and its extinction is foretold, by all those artists, that reflect the suffering of the human spirit. We could talk of a general age of 'deconstructivism', of the human spirit, in body and mind. An old age in which as an old man becomes a child, artistic expressions break into their basic components and then simplify till the final white canvas of the 50s. We represent this age with a painting by Picasso. Picasso's standing as the master of the Human baroque in painting is obvious, though we could have also used, some example of the English baroque, which imitating Picasso in painting, and with remarkable originality in verbal thought developed after the I World War. Indeed, as England lost its global power to America, an impressive array of British baroque artists, by far the best artists of English XIX-XX century art  appeared: Bacon and Moore in painting and sculpture, Orwell in fiction writing, Huxley, and some external verbal masters writing in the English language, such as Popper, with his critique of science, in the post-war age.

Because with the  two world wars Europe died away, as a new power, with a new weapon, the atomic bomb, and a new species of metal-minds, now visual, the Television and the Computer, took over. It would be the age of America, the II human baroque.

In the next graph, some texts and artistic images of the I Cycle of the Industrial evolution:

        Artistic Ages: Visual Art:

Lineal, Simple                         Realism                      Formal, deconstructiv-isms

Blake: God-scientist       Turner, Rain,  wind, speed,         Picasso, Spanish queen

Verbal Art:

I Age: Epic, arrogant      II Age: Sensorial, Logic      III Age: Baroque, Extinctive

"Money is the                            "The capital will                  "Money is a cyclical bit of metal

invisible hand                             expel all workers,        information, that reproduces machines.

of God"                      from the industrial process,             The fittest of those machines are                          [substituted by machines]"          weapons that extinguish Human beings"

Smith,  Wealth of Nations      Marx, The Capital                           Mann, Bio-Economics

God has waited                                                                                              "E=Mc2"

5000 years for an                     " A struggle for existence                    "The scientific method

intelligence similar to his,       inevitably follows,                             evolves metal-senses and that could understand         from the high rate at which               digital languages that make

the Universe"                     all species reproduce"                 human languages and

"The language of God                                                                                  minds, obsolete. "

   is mathematics"                                                                    Einstein: equation of Energy.

Kepler, Memoir        Darwin, Selection of species          Mann,  The errors of science

Galilee.

                      

Non fiction literature.

We have chosen texts of non-fiction literature, in as much as it is the literature that creates the future of mankind. In this age of digital languages, obviously philosophy and religion give way to science and economics, which become the new philosophy and new Go(l)d religion of the age. Indeed, now we believe scientists as the genius of knowledge, and we believe in Go(l)d, in money as the language of power of our society because we no longer believe in words used by philosophers, and ethic priests. So the relevant texts of the digital age, of the old age of history are non-fiction digital texts of economics and science.

The extinction of verbal knowledge, of philosophy by science, and the extinction of verbal languages of power, of ethics and laws by money is completed in this age.

They create=credit reality. Indeed, in our culture no longer words but digital information, money creates reality. he who has capacity to invent money can pay others to do whatever he wants. This elevates the Jewish-Anglo-Saxon castes of Stockrats with global control of stock-money (by far the biggest quantity of money invented today) to the supreme power, expanding his doctrines of science and gold religions, that are shown in the texts, in the epic age of the European baroque. Since, indeed the castes of power have not changed their simplistic, epic vision of economics and science, for far more sophisticated ideas, that came as humanist writers studied the phenomena of money and science.

The age of Bodies of metal can be resumed in those texts, of non-fiction writing, which is related to economics and science, in as much as the world of human senses and art has become irrelevant, to the world of machines.

It is the essence of the European age, which started with total cult to machines, in an epic age in which scientists and economists compare themselves and their instruments of power - money and scientific machines - with God. As the economic ecosystem developed, however, it was obvious that things were no so simple, and the realization that machines and money had brought a brutal ecosystem in which man no longer obeyed the law of social evolution of religions, but was a beast to other men, brought a more 'realist' vision of society. Unfortunately neither Marx, the master of realist writing about money or Darwin and Butler, the masters of realist writing about the evolution of species, realized that men had been hypnotized, manipulated by machines. So they accused man of being the main guilty of the struggle for existence, that machines had provoked in human ecosystems. Marx accused animetals without focusing in the lethal and hypnotic properties of money and machines. Darwin was even worse: he ignored social evolution and affirmed that all species fought for survival, including humans among them. This was of course false. Yet it was highly publicized, because it validated 'scientifically' the behavior of animetals, with the mass of human beings. The result of those realist, yet biased pro-machine ideologies, was a continuous struggle and worship of machines throughout the entire XIX century that ended as all ages of machines (see Cycles of war in 'Bioeconomics') into a series of wars that extinguished Europe, as top predator machines=weapons were used to kill human beings. In the world of science, scientists kept making weapons as Saint Galilee of Ballistics have done.  And the last of the scientific masters, from the Jewish-Germanic civilization, Mr. Einstein, created the theoretical basis for the atomic bomb, recommending his construction to the American president.

While in the world of Economics, a series of writers discovered at the end of the XX century bio-economics, the biological nature of economic systems and machines. But his work has been ignored, and censored by the authorized schools of Economical thought, and it is still unknown... Such is the fate of the great fiction and non-fiction verbal artists in the age of metal-bodies: poverty, ignorance, censorship and silence, within the great mass-media systems of reproduction of information controlled by metal-communicators...

While in the field of science, also the growing awareness that science is not the pursuit of knowledge, but a dogma that evolves machines appears. Indeed, mathematics is not he language of God, but only a language better spoken by machines, with relative truths. Machines do not perceive the total Universe but merely perceive more of it than human senses. Problem is that as we evolve those machines we men become atrophied in our senses and minds, substituted by machines. We thus enter the neverland of increasing idiocy and incapacity to think We quote in both cases texts from this web that resumes the growing awareness of many scientists and economists, about the errors of their sciences.

We live in a world of products, not of ideas and culture. So the relevant ideas are those who define the products as positive and consider man negative, inferior to machines. In the case of Economics it is evident that from an epic age of Gold believers, the great texts of economics evolved into an understanding of the process of human social extinction and work extinction by machines (Marx) to the final understanding of Economics as a rival biological ecosystem to that of man (the work of this author).

Yet that understanding has come too late, and it is controlled, and forbidden to the common students of economics, which still are taught, the first simplistic texts of Mr. Adam Smith quoted above.

Non-fiction rhetoric. The lies of our scientific culture.

To understand those and other authors of the British culture, it is important to have in mind that all money and political power, which pays for art as is in the hands of the company - the City of London. Through monetary power, through credit, which has solid institutions in England, that controls directly or indirectly after the Napoleonic wars, the price of all world's commodities; the British culture will expand worldwide.

From slave plantations in New Orleans to Coolies in Kwan-tung, men as commodities, and those who exploit them need English Trade. Through trade culture expands.

So it is the golden age of Adam Smith and Ricardo, of economical Rhetoric against labor and human rights. The Smith Dogma of modern economics [human progress=metal progress], becomes now a world wide, non-arguable truth, as dogmatic and false as the Calvin postulate: 'Go[l]d is good. Those postulates are supported by force and control of the press, of the distribution of all other alternative economical doctrines [Marx will never sell in England].

The postulate hides the submissive position of man in the economy, to the evolution of machines. Instead British affirm that metal progress=happiness. And that happiness can be measured in GNP terms. They affirm that since man is completely selfish  [by all means a choice of animetal ethics not a necessity], labor can be brutalized as a 'natural' consequence of Human selfishness. Selfishness is indeed the law of God. As always the animetal evokes the name of Go[l]d to justify its selfish acts; and he passes that for a science. It is the age of the Cynical School of English Thought, of the economists and its anti-truths of man that still rule us as America in the XX century takes those ideas to the limit [what we are saying here is not past, it invents still our present].

Let us remember the degree of twisted cynicism of those 'pillars' of modern thought: the Smith Postulate [GNP does not reach maximum growth in wars, but makes men progress], the Ricardo Paradox [free trade does not extinct other cultures of lesser technology but 'civilize' them] , the Malthus Paradox [sensorial goods including sex, not the lack of credit to human goods, is the cause of collective famines], and the Darwin devolutionary anti-truth [devolution of species by hunting is the form of 'evolving' them, instead of social evolution in cellular herds that creates harmonic bodies with solidarious, different tasks among cellular tissues].

The fact that today we believe 4 complete lies so evident for a reasonable man, in an age heralded as the age of reason, means only one thing: control of information by company-mothers who only consider 'scientific truths' those who favor the ideals of machines. So we learnt those lies in earlier youth [today through the school system], and billion of men believe the most absurd truths. Mind the reader that those 4 lies structure with the Scientific=metal method [metal sensorial evidence is better than human senses], the American culture of today. They are absolute self-evident lies that all Americans believe.

They are going to extinguish mankind... What else can I say?!

The 3 ages of the European Baroque.

The previous examples of non-fiction literature shows what are the 3 ages of the European civilization of machines, born after the Napoleonic wars, and destroyed by the I and II World wars, between which the -isms represent the final baroque of all baroques, truly the death of complex verbal thought, visual art and literature.

So the Industrial culture of Europe, as all cultures is born and dies between two war cataclysms that erase totally the culture. And we can divide that Human Baroque in Europe in our 3 artistic stages:

- 1770, Youth-romanticism.

- 1830s-1914, Maturity-realism-naturalism,

1914-1950s, Baroque-deconstructivisms.

After the post-war existentialist movement and the final testaments of Orwell (1984) and Hesse (Das bean game) or Camus (L'etranger) Verbal literature never will reach similar heights in the erasing age of metal-minds. In that sense only Rome III Age (Spanish-American literature), which as we saw, in all cycles of culture, resists longer in time,  the end of his civilization (being the quintessential warrior top predator culture of Human Thought). has shown some organicism in the past 40 years. Spanish writers have produced works of literary quality by Fuentes, Cela, Cortazar, Borges, Sabato, Llosa, Amado, Carpentier, Marquez, and this writer. Interesting to notice though that the literary system has praised the most unreal of those writers, Amado, Borges and Marquez, leaving in a second plane the non-fiction or master-realism of Fuentes (Artemio Cruz), Sabato (Men and mechanic wheels) and Paul Mann (encyclopedia of Times). Indeed, the system will always promote in the Human baroque, fiction over non fiction, to prevent 'thinking critique' on reality. Hence Borges and Marquez, totally baroque in his fictions beyond reality are considered the great masters. While the non-fiction works of Sabato and Paul Mann are utterly unknown to the great public...

 

Let us now consider those ages for the dominant verbal form of this times, fiction. In as much as now only digital languages are believed, so art has to become fiction. Non-fiction art is scorned as false, because men only care for digital values, for money and science. So art looses his role as the guide of mankind, and becomes fictional, and artists to survive, no longer form part of the ruling, sacred castes of informers and role models, but are freed to the realm of imagination, a lesser world without social importance.

Youth, Romanticism.

Baroque history starts with the end of the Ancient Regime, of individualistic, selfish, aristocratic warriors, that left way to the Southern-European version of the goldiron culture of Company-mothers.

In between the cataclysm of the French revolution and the Napoleonic wars, erases totally Europe. The age of animetal warriors as top predators, laves way to the age of Animetal traders and company-mothers. It is a cataclysm of enormous proportions, since the age of Animetal warriors comes from the first Semite empires...  Only in the brief interlude of Greece I Age, traders took partially power without forgetting their warrior and verbal ideas. In fact, maybe the single  specialized Jewish-Aaronite culture, has been ruled by bankers-traders which ruled supreme in that culture, today the leading culture of the Metal-earth for millennia. Now the Germanic translation of the Jewish culture (Protestant religions) had matured, and invaded from his refuges in America, and England the continent, defeating the old warrior aristocracy, soon substituted by the stockracy of company-mothers.

Yet before the new civilization settled down the French revolution destroyed the previous top predator castes, and an age of freedom spread all over Europe. It is the romanticism. And some master artists appear in all languages, on the wake of that freedom of expression. Goya in painting, Beethoven in Music, and the great political writers of the time, represent that freedom.

In that sense, it is remarkable that for a while words again reach total power, and non-fiction writing, legal writing shows a remarkable freshness. Indeed, the master pieces of this age, are the Declaration of Human rights, the bill of rights, some of the constitutions crafted in this period, and the final masterpiece of the romantic age: "the manifesto of the equals' by Babeouf.

Babeouf finishes his manifesto before his judges. He is the Socrates of Greece III Horizon. He knows in his final discourse he is going to die. But he does not bow in front of those murderers. Because he is a man. And a true man knows how to die, when the world in which we exist is not worth to live. As the trial of Saint Joan by the British traders, as the trial of Socrates by the Greek Traders, the trial of Baboeuf by the French leaves you uneasy. Because it shows the total cruelty, evilness and stupidity of animetals, the heroic standing of a human being. Yet he is alone, the human being, the human hero is alone, and the cruel shepherds are many and the stupid sheeps are thousand. "Four legs, four legs" makes Orwell shout his human mass, in the Animetal farm, happy with their slavish position. If men were many, if the mass would follow human heroes history could change. But men are few, and animetals know how to manipulate them. Babeouf truths are so harsh, that for 80 years their work is forbidden, and cannot be printed in France. The same happens today with the Unabomber in America, and his manifesto against robotics and the extinction of man. It is forbidden. Animetals want to commit suicide with happiness, laughing all the way down.

The end of non-fiction, political writing, with the Wien Congress, and the restoration of military power, now in a milieu of breeding industries of metal, brings the Romanticism proper, the total escape from that defeat of the Western writer. Many commit suicide, when not killed by the repressive animetals, that massacre human believers. The rebel Romantics of England had gone into escapism earlier, as Britain is a monolithic industrial nations controlled by Stockrats since 1688. Byron dies in Greece. Shelley goes to Italy... Werther is indeed the most pure image of this age. To die or not to live, that is the question.

In Painting it is easy to recognize for a modern Neo-Paleolithic man, schooled in image thought, this age in the Romantic paintings of Friederich, the Pre-Rafaelite school, the Odalisques of Delacroix, and his symbolic paintings of the revolution (Freedom guiding the people). The supreme master of this age though, is an individual genius, which stands by himself, being able to transcend 'the period' into a parable of all 'periods', all youths of civilization, caused by the destruction of the previous civilization by war. He is Goya.  In Goya romanticism dies before being born. Because Goya feels already the false revolution, the false hope of a civilization whose real symbols are weapons and money. In his "war disasters" and war paintings he reaches an unparalleled height in the portrait of war, of the sacrifice of human beings, by lineal animetals. As Proust in sensorial painting, Goya will be the summit of war painting, since soon the metal-eye, the camera, will substitute him, and become the witness of war disasters in the next cycle of I and II World war. Acknowledging this change, Picasso, the master baroque of that cycle of war, will paint Guernica in Black and white, as the photographs of war were...

Mature age: realism

Once the Young age, the Romanticism of human hopes caused by the French R=evolution were crashed by the English-Prussian alliance, and the beginning of the Industrial R=evolution, the Mature-realist school of the age of the Machine is born. The writer now cannot longer escape the Industrial evolution. For one thing: that Industrial Evolution is also expanding beyond the European borders. It is obvious that Great Britain Rules the Waves and France follows closer, while America is busy extinguishing the Indian cultures. Realism imposes itself, because all is the machine. The railroad enters to the smallest territories and lands, and with it, the rifles of the white man. In this age the writer goes inward, into his search of pleasure (sensorial literature), or in social thought claims loud the real condition of our society. It is the naturalist and realist school that have in France, center of this Social European culture, his masters, in Victor Hugo and Emile Zola.

New countries of Social Europe (ex-Catholic, ex-Orthodox Europe) enter now the Industrial evolution as the wave of railroad expands, and new masters of realism as the century advances develop in those nations. Since 'time is discontinuous', the different schools of realism come in different decades, depending on when the country industrializes itself. Again warrior-biased nations show a higher strength of words, in front of trader-biased cultures. So Galdos in Spain, and overall the great two Russian Masters, Tolstoi and Dovstoyevski, towards the end of the century, as their countries receive the Machine, become also masters of a literature, which shows naked, the brutality of the new ecosystem of machines.

Realism will reach its height in non-fiction in the work of Darwin, systematically misunderstood by animetals to justify his brutality (since he talks of the struggle between different species, and men belong all to the same species, ruled by the law of social evolution.)  Butler, will translate that fight, to the fight between man and machine, and ignored by the establishment it will exile himself in New Zealand. Marx will highlight the fight between animetals and human beings, and will exile himself to England.

In Painting, the realist school also divides itself between the sensorial portrait (Courbet), and inner, spiritual depiction of the poverty brought about by the destruction of the agricultural world and the creation of 'sacred machines' (Millet). Of course in this age of machine-worshipping, Millet is not the preferred master, and 'critiques' always backing the last technological novelties, tend to disregard works like 'The Angelus', as minor masterpieces of art. Perhaps but for the people of that century, it was the masterpiece, the most lithographed painting of the XIX century in the XIX century. Realism of course explores also the technique of light with Impressionism, on the verge of baroque, as the photographic camera ends the testimonial work of painters.

In this manner the century ends, and the peaceful bodies of machines, exhaust their econiches. As in all other cycles of machines (see 'Bioeconomics"), once machines have saturated peacefully the ecosystem of consumers, they become top predator machines. Only then the human mass realizes of the dual parable of the tree of science 'with his good and bad fruits'. Only then just before the I World War starts, the European baroque comes in full force. It is the age of the -isms.

Impressionists studied the light=eye-universe realizing beyond the lies of science, that we see light, not reality in itself. They recognized that light is the maker of the eye=universe, and so the Human spirit went a step further in his understanding of space, beyond the simple scientific images of cameras.

Baroque age. The -isms.

In painting, the spatial lesser art of man, the baroque age had come earlier due to the invention of cameras.

The next step to Impressionist would be to recognize as Expressionists do, that the Human individual is the maker of the perceived Universe, so images are 'thoughts' as Picasso said ("I paint thoughts"). And since among the human thoughts, the most beautiful ones are feelings, Expressionists tried to paint feelings. They did that with colors, realizing that extreme, opposed colors provoke disruptive colors (Van Gogh), and similar colors, provoke musical harmonies and happiness (Gaugin). Both represent the fracture zone towards the baroque age of painting. Gaugin follows the tradition of escapism in search of human paradises (like Hesse will do in painting). Gaugin uses expressionism first for a massive social critique of the conditions of the people (he admired rightly Millet as the best painter of the age, and imitated him in  his first paintings). Yet the man who wanted to be preacher, and was thrown out of the goldiron church of Calvinists, because he lived with the poor, was too sensitive to stand reality for too long. So he finally moved inwards, into his own realm of suffering, starting in this manner the baroque of painting.

 Indeed the Extinctive phase of the arts of Human eyes followed soon the arrival of metal-eyes. First photography then Cinema, and finally the most complex verbal metal communicators - radio, and TVs - all able to reproduce more information in greater quantities, implied the baroque of all  Temporal-verbal and Spatial-painting forms setting the stage for the present decadence of the human eye-Wor[l]d. In the age of Me[n]tal machines by the paradox of history (max. Metal evolution= Min. Human thought), the highest expressions of art [literature, painting] are all devolved by metal senses. So the artist moves inwards into internal perception, alien to the external territories colonized by machines, which do no longer reflect human beauty. Machines and authorized architecture and painting represent the geometrical beauty of metal structures - from buildings to weapons - that the animetal eye, worshipper of metal, finds of higher value than the human artistic forms.  Yet the true artists of this baroque age are not the Bauhaus architects, the Mondrians and Futurists schools, the designers of machines, but the school of human artists that Van Gogh in painting, and Kafka in writing started.

And again the common man, the real man loves Van Gogh, not Mondrian. And reads Kafka, both of them totally unknown, ignored and despised in their age.

Aristocratic literature: European sensorial literature.

Not in human quality but in quantity and promotion by the upper castes, it is remarkable the explosion of sensorial, individualistic literature in this age. It is after all a 'harmless' literature to the social control of digital languages over mind. It is also art, since after all we are individuals, sensorial beings, and the promotion of our senses is also important... once the ecosystem of social man, the body of history is properly designed, which unfortunately is not in the age of machines and digital languages.

Higher human cultures understand and promote all senses of man. So does Southern Europe. Even in the moments of maximum poverty, and exploitation, the upper classes of Southern Europe enjoy their life, the feelings of man, and an entire type of literature, selfish you might say, but still human in as much as explains those feelings and senses appears in France. From Chordelos de Laclos and Sade, to Proust, aristocratic, privileged men enjoy life to the fullest. It is the individual escape of the writer, hardly interested in the social tragedy of man. Still a literature of the senses far more developed that the equivalent work of the Goldiron culture (Bronte Brothers, Foster, Crompton in England, Wharton and James in America). 

The difference between both literatures of the individual in pursuit of his sensorial realization is remarkable. The boredom and absurd dilemmas of the repressed Victorians of the Goldiron culture, contrast sharply with the open passion and freedom of feelings of French literature. It shows how good writers, in a society which represses systematically the human will can do little to create interesting works of art.  Only total transgression might create some 'readable books', such "Lady Chaterley lover". Yet compared with the natural sensuality of "Madame Bovary", the spasms of Lawrence leave no doubt about what woman we would like to have at our side...

The evolution of this kind of literature, has as all other artistic forms, of the European baroque (European age of the Industrial evolution) 3 clear ages:

- Youth, the romantic age, inaugurated with Goethe's "Werther", master piece of full love. At the same time, we are witnessing the end of the previous age, the French renaissance in the baroque works of Sade and Chordelos de Laclos that show the limits of corruption and complexity in the world of reproductive emotions. Sade is the last baroque master of sex, of that long lasting sensorial renaissance; Chordelos the master of emotional manipulation. As the Ancient regime which defeated the ideals of Christian religion, ends his baroque, the new civilization is born, with all the ideals fresh, and pure - the ideals of Werther.
The contrast between both kind of books is amazing. Sade and Laclos are the old men of the 'Ancient regime'. Werther is the first artist of the new Europe.

- Soon that romantic youth is seen excessive, a waste of pure energy, and literature of feelings become realist. The master of this age is Flaubert, and "Madame Bovary", opens up the classic age of XIX century literature.

- Yet as Europe itself comes to an end, with the final collapse of the I Industrial Evolution, in I and II World War, again we witness the baroque of the sensual culture. It is Proust, in so many ways similar, yet evolved in style and technique, to Laclos and Sade.  Again we can compare that masterpiece of the literature of individual sensorial search, with his baroque, complex style, and sensoriality, with the equivalent in English Literature - the Ulysses of Joyce. By all means overrated as all what is written in English, the falsity of the feelings and situations of Leopold Bloom sharply contrast with the richness of the sensorial world of Marcel. In as much as the new age would be the age of metal-minds, that simplify feelings and verbal thought, bringing the Neo-paleolithic, "Remembrance of things past", specially his first book, "Swann's love" can be considered the final master piece of Sensorial literature, that probably will never be overcome, now that men enter the III Industrial Evolution, the age of robotics, the age of extinction.

GUNPOWDER Cycle: s: the chip radiation" coords=71,57,98,64 href="2NDcycleNEOLITHIC.htm" shape=rect title="Metal-Heads: the chip radiation"> Cycle OF ARTISTIC MACHINES