As to what constitutes the most profound, durable form of
human progress— certainly, most educated people would place emphasis, if asked,
on the higher disciplines: science, philosophy, high art, and architecture. The
kind of work which constitutes the most profound, durable form of progress in
these disciplines has, as a constituent element, what I call the weight of
centuries effect. What I call the weight of centuries effect is self-evident in
the work— an attempt to assimilate into the work, the influence and gravitas of
all that has been accomplished in the respective discipline before, going back
not just decades but centuries. If this is what constitutes human progress, it
needs to be acknowledged that a huge chunk of modern human society is the
avowed enemy of human progress. The modern press corps, for example— who
express their avowed stance as enemies of human progress by running away,
screaming, from any high discipline work with the weight of centuries effect
inhering. The press subsist, essentially, to produce what I call a “wall of
horseshit” effect (conversely), and the wall of frivolous, ephemeral horseshit
is there to lead the populace, often subconsciously, to the realization that
there is not nor ever can be any profound human progress, no weight of
centuries. The darker side of the human race and the human continuum demand
that the entire surface of human life, in fact, be a wall of horseshit, and all
profound progress hidden. As I’ve begun to understand architecture, and the
architectural dimension of human life from Philadelphia, one of the great architectural
masterwork cities of the world, and a city whose high sector affiliations tower
over other American metropolis/suburb areas, I put PFS/Neo-Romanticism and our
achievements resolutely on the architectural side of things.
In fact, architecture is useful in establishing a
demarcative line between weight of centuries material in the high disciplines
and everything else. Being on the side of the demarcative line we are on, it
behooves us to be realistic about what we can expect. PFS has, in-built, some
Hollywood-level sex appeal to offer; the photos attest to it; leading some to
wonder why the media will not cover us. The reason is simple: as the avowed enemies
of human progress, the press note the architectural bias of our work— the
weight of centuries effect— and run screaming in the other direction. If the
press are to erect the wall of horseshit they need to erect for themselves,
with the specific intention of outright denial of weight of centuries/human
progress, everything associated with architecture has to be an anathema, our sex
appeal be damned. Party politics can be like this on the surface, too— not the
weight of centuries, the weight of pure, totalized evanescence. So, these are
the wages of an architectural bias for the Philly Free
School; weight of
centuries signifies that we will have to be ploughed over in favor of
evanescent trash on the surface by the enemies of human progress. The weight of
centuries demarcative line is very stringent about this. On the other hand, we
have the peace of mind of knowing that no one can accuse us of selling out, or
selling cheap. It also needs to be noted that the wall of horseshit approach to
the surface of human life is not going anywhere; is, in fact, intransigently
built into human history.
One of the reasons that a movement like Neo-Romanticism must
grow incrementally— the opposition will always try to rig things so that it can
never generate any real momentum. Neither the press corps, nor the party
politicians want momentum to develop behind any work with the weight of
centuries insignia inscribed onto it, which is the insignia of genuine human
progress. Momentum, invariably, is for evanescent trash, some of which can
stand as a simulacrum of weight of centuries work, but never the real thing
(and, as is sinister, both the press corps and the party politicians do know
the difference). As per the opposition: are they people, you might ask, or are
they amoebas? One thinks swiftly of Swift, and is grateful for some of his
literary incisions. Who cares? The right buildings, including here on
Fayette Street in
Conshohocken, exude their own kind of sentience among the perceptive sectors of
the human race, impose their own standards and ethos and make their own
demands. Architecture, as a secret powerhouse in human society, may have its
emergence in some sectors facilitated by PFS. However much momentum may be
allowed to accumulate, all of it will be directed towards getting a wider
audience to note weight of centuries level work, and not the simulacrum of
same. Keats, Bach, and Rubens rather than Shakespeare, Mozart, and Rembrandt—
the first tier being ranked first, right on the surface. I will not attempt to
conceal that Neo-Romanticism maintains an avenging angel attitude towards the
enemies of human progress, and weight of centuries. Whenever we can afford to
fuck the bad guys over, and push the architectural up, we will do so; let
momentum fall where it may.
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