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Re: [anthroposophy_tomorrow] Catharsis

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  • Tarjei Straume
    ... You ve got a good point. Diana keeps insisting on some weird notion of hers that I m somehow working for the WE establishment and that I m responsible for
    Message 1 of 2 , Sep 2, 2004
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      At 14:14 02.09.2004, Goffredo wrote:

      >One has to be aware of a possible descent into a sort of sophistry which
      >can only give munitions to those who wish to discredit the message given
      >by R. S. -

      You've got a good point. Diana keeps insisting on some weird notion of hers
      that I'm somehow working for the WE establishment and that I'm responsible
      for what Waldorf staffers say to parents. I've been trying my best to
      remind her that I'm just a Tazist and anarchosophist, but to little or no
      avail. Gary and Dan keep linking to my skulls from the PLANS site -
      especially http://www.uncletaz.com/skullpage.html - because they figure it
      sends a warning to prospective Waldorf parents about how deadly dangerous
      and wacky anthros are. And in 2001, when my son who was 11 years old at the
      time, made a spooky webpage with dungeons and dripping blood, the WC people
      went completely berserk and threw themselves into a long long thread about
      him being mentally ill and needing psychiatric intervention, being sick and
      crying for help, and they wanted to use his webpage as a warning to
      prospective Waldorf parents, making it necessary to remove the webpage.
      They didn't ascribe the spooky webpage to his normal adolescent artistry or
      to his genes, but to the Waldorf school. Look what they teach the kids in
      Waldorf school.

      To his credit, Dan Dugan seemed to back me up, but those malicious,
      hysterical, and slanderous tirades against a minor are still on the Topica
      and PLANS websites. The webmasters will probably hear from him when he's
      18. We can wait.

      The PLANS cult has no morals, no scruples whatsoever. Their war of smears
      and slander knows no limits:

      "Peter has studied Steiner's work in depth and has pointed out that it is
      peppered with racism. He is calling for the Anthroposophical movement to
      thoroughly revise, rescind, repudiate or replace Steiner's racist content.
      He is drawing attention to an organization that holds up such work as
      spiritually enlightened. He is placing Steiner's worldview in its
      ideological and historical context because racial thinking, within
      alternative spiritual movements, needs to see the light of day." - Sharon,
      Sep 01, 2004

      The members of the PLANS cult have precious little sense of humor, however,
      and ZERO self-irony. That's their Achilles' heel, which is why I'm putting
      them into musicals. I grew up in the theater; both my parents were actors.
      Dan Dugan is a sound technician, so he ought to join in with some
      suggestions of his own. But just like when they see the skull page linked
      up above, they don't seem to get the content. They see the image of the
      skull, and they see the word "death" mentioned, and they expect their
      target audience to be equally tunnel-visioned.

      Naturally, representatives of WE, AS, and other types of organized and/or
      official aspects of anthroposophy may feel justified in exercising caution
      when engaged in combat with these people. The same may apply to anyone who
      feels called to be the communicator of Steiner's message. But I don't think
      that's the case for the majority of us. I do communicate a message of
      Steiner from time to time when I quote or paraphrase the Doctor, but I'm
      also the communicator of Benjamin Tucker's message, Jens Bjørneboe's
      message, Max Stirner's message, Shakespeare's message, Samuel Becket's
      message, William Burrough's message, Jack London's message, John
      Dillinger's message, Jessie James' message, Abbie Hoffman's message,
      Timothy Leary's message, Noam Chomsky's message etc. etc. but first and
      foremost MY OWN message. This message of mine may have adopted an awful lot
      from Steiner and the others just mentioned, but when you've made the ideas
      your own, it's YOUR message and nobody else's.

      Incidentally, I've never been a Waldorf student, and I've never worked in a
      Waldorf school nor in any other affiliated institution. I'm not a member of
      any organization except Futurum Ministries, i.e. the Church of Tazism or
      the Cult of Uncle Taz. That's right; Uncle Taz is my guru and occasional
      alter-ego. So if the hardcore critics want to use Uncle Taz and his
      lawlessness and criminality over in Norway as a scarecrow against Waldorf
      enrolment in the US, so be it. The people who are scared away in this way
      would probably have become troublemakers anyway, so I'm most likely doing
      everybody a favor.

      But back to the theater. Let's make a move, shall we, from musicals to
      symbolic and satirical drama. A very interesting French playwright, Eugène
      Ionesco (1909-1994), who, like Samuel Beckett, had a keen sense for the
      Theater of the Absurd, wrote a mind-boggling play in 1959 called "Les
      Rhinocéros". It was described by the author as an anti-Nazi play, but it
      made every totalitarian regime jumpy. In Moscow, they wanted Ionesco to
      rewrite it and make sure that it dealt with Nazism and not with their kind
      of totalitarianism. In Buenos Aires, the military government thought it was
      an attack on Peronism. And in England they accused him of being a petit
      bourgeois.

      When Rhinoceros was produced in Germany, however, it had fifty curtain
      calls. The next day the papers wrote, "Ionesco shows us how we became Nazis."

      I hope those of you who followed our exchange with Peter Staudenmaier this
      spring may be able to recognize what I'm getting at here. As you remember,
      I pointed out that Staudenmaier's reading technique is strikingly similar
      to that of Adolf Hitler a technique the future Führer developed when he was
      in prison. He insisted that his method of reading, better than any other,
      consisted of "remembering the essential and forgetting the unessential
      completely". In practice, this meant defining what is essential, based upon
      an intuitive process of comprehension, which he skillfully united with
      whatever appealed to his own prejudices.

      This is the spooky thing about this kind of karma of untruthfulness: By
      falsely accusing the founder of a large international organization of
      racism, anti-Semitism, pan-Germanism, and national socialism, certain
      aspects of these lies creep up on them from behind, transformed and almost
      imperceptible. It's not easy to grasp or recognize; only art can accomplish
      such exposure - the art of the theater. What happens in Ionesco's play,
      "Les Rhinocéros" ?

      Bérenger, an average middle-class citizen, shows little interest in the
      fact that a rhinoceros is loose in the city. He is surrounded by people who
      willingly transform themselves into rhinoceroses. He quarrels with his
      friend Jean and Daisy, his pretty secretary. In the office Bérenger
      witnesses that the staff is gradually joining the rhinoceroses. Finally
      Daisy and he are the only human beings, and when Daisy too turns into
      rhinoceros, Bérenger decides to defend his humanity with a gun.

      In our context, the interpretation of "Les Rhinocéros" may be twofold. On
      one level, the play depicts the hardcore Waldorf critic's worst fear -
      namely, that the entire world population will become anthroposophists and
      evolve into some dangerous and dominant creatures on future Jupiter,
      leaving the lonely hardcore Waldorf critic all alone with his huamity,
      common sense, and skeptical reason. On a different level, the hardcore
      Waldorf critics are themselves dreaming about evolving into rhinoceroses,
      chasing all anthroposophists down to the last man. One by one, they convert
      anthros (humans into anti-anthros (rhinoceroses), but when ther'e only one
      anthro left in the world, they're facing a new fear: How to find a life
      when anthroposophy has been totally wiped out. How to find a new purpose.
      So they don't know what to do about the last man. And that's how the play
      ends, when he says, "I'll never surrender."

      >Perhaps when our sensitivity to what is beyond the physical begins to
      >develop, we tend to become more susceptible. This changes our personality
      >in different ways. Some become hypercritical, others become more arrogant
      >and feel superior to other mortals, etc..

      In "Les Rhinocéros", the beasts, incredibly fast, large, THICK-SKINNED, and
      dangerous, are perceived as superior to man. That's what makes everyone
      want to emulate them, and as a consequence, they all become rhinos. I saw
      the play when I was 10 or 11 years old with my dad in one hell of a role,
      Bérenger boss, who is transformed from human to rhino before his very eyes.
      He starts pacing the stage, eating on a cactus, goes off-stage and returns
      with a horn on his nose, goes off stage again to the bathroom, and Bérenger
      blocks the door, but a huuuuuge rhino horn penetrates the door while he's
      yelling and growling, and Bérenger makes a run for it.

      >The study of anthroposophy and of other esoteric sources seem to be
      >conducive to these temporary changes.

      Well, according to the first level of interpretation mentioned above, the
      hardcore Waldorf critics seem to think that's it's precisely
      anthroposophical studies that cause people to change into rhinos.

      >Hopefully, they disappear when a real catharsis is accomplished..

      In reality, the rhinos disappear when the curtain falls, but the PLANS
      cultists don't. They're humans on the outside but apparently thick-skinned
      rhinos on the inside waiting to pop out.

      >I met good Anthros and Theosophists when I was in Europe. Some appeared to
      >feel like a prima donna or a first fiddle. Some managed to get out of it.
      >The most notable sign of their progress seems to be an absence of fear of
      >death and of the unknown.

      Come to think of it, the fear of death is a decisive factor when masses of
      people are transformed into rhinos. That's the link between the story and
      the rise of Nazism.


      Tarjei
      http://uncletaz.com/
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