“STEM! Trades! Moar STEM!” sums up most of what I see in dissident sphere discussions about what endeavors are worthwhile. This bias reflects the practical sensibilities of the upper working class core with its skilled tradesmen and small business owners.
The engineers and computer programmers of the dark enlightenment suffer from the same conceit, heartily recommending more of what they already do as the highest virtue.
Then in the same breath I see ranting and raging about how Jews make all the movies. They recognize a weakness in themselves but they willfully get their priorities wrong. So long as they do that, nothing changes.
To be fair, I see commendable support for revival of the classics of the Greco-Roman world but this is part of a larger conservative trend to focus on the old without making anything new.
I also wholeheartedly agree with the reaction to degenerate modern art but a return to monolithic marble columns, sterile white statues, stuffy baroque decor, the 10^19th painting of St. Sebastian looking rather bored as he gets shot full of arrows, or heroic St. George spearing a pitiful, dog-sized dragon just brings us back to the origins of modern problems.
One of the obvious growth areas for alt-dissidents is culture and aesthetics, which are too often dismissed contemptuously as the province of soy-addled literature majors. In reality, conceding this battlefield to the enemy is a grave strategic error that stems from wounded pride and class resentment.
No one is inspired by the artistic output of no-frills proles with greasy hands. Even positive portrayals of the white working class such as biscuit and gravy Terran marines flying Confederate flags are created by SWPLs and Jews in the gaming industry. Look at any actual worker’s revolution and we see the art is always grandiosely uninspired. At their best, the common people can sustain a steady folk-culture.
Good aesthetics come from creative, high IQ people with high openness to novelty. We can take a quick look at something as mundane as beer. Proles drink watery lager and tend to stick to the same brand. Meanwhile craft beer comes in dozens of different varieties and there’s always new ones to try. IPAs in particular have distinct aromas from different blends of hops.
As infuriating as the SWPL culture can be, it blows the combined might of the red states out of the water. That’s part of the deceptively great power of culture—a small number of creative people easily overpowers and reprograms masses who are lesser in beauty and ideas.
In the current order, many creative people end up as hardcore social justice warriors. The rulers only need to inundate those of heightened sensitivity with injustice porn and beautiful rainforests getting cut down from an early age to command their allegiance for life. The creative people won’t listen to the arguments of the other side because the other side is ugly. Until the emergence of internet countercultures, this kneejerk assumption was rarely challenged.
The rigid right-wing personality type, on the other hand, tends to unimaginatively double down on the enlightenment error of ignoring culture. Rightist rulers such as Franco, Salazar, or Pinochet successfully crushed open opposition as they blissfully let their opponents take over the universities. Sepsis eventually spread to the officer corps and once that happens a right-wing ruler’s days are numbered.
Even in the best case with Franco dying of old age after being in power for decades, the cultural and aesthetic reality of Spain had already aligned with the rest of the “international community.” Now it’s just another Euro country with massive youth unemployment, waves of migrants, and abysmal fertility rates.
Fortunately, the mainstream culture now grows weaker and more insipid by the day as censorship and conformity stifles even the best creative types. It’s become a meme to point out how even educated adults draw heavily on Harry Potter, a series of books written for kids, to make cultural references and analogies.
Hollywood movies have sunk into embarassing mediocrity with a lineup dominated by remakes of remakes and x superhero of the week. Musically, there hasn’t been much memorable or distinct since the 1980s.
Strangely, television shows, which were largely mid-tier schlock as recently as the 90s are the last medium with any sort of vitality, and much of that is borrowed from dissident ideologies which as of yet can only be hinted at.
There’s nothing to stop a burst of real creativity from challenging and displacing the established aesthetic.
Dissident dominance over the generation of memes and the realm of uncensored ideas already demonstrates just how sickly the mass culture really is.
A next step might be as simple as an alt-sphere literary magazine like many ordinary high schools have—or even a neighborhood band with an alt-right theme. The important thing is ridicule and destruction only goes so far. It should be clearly understood the birth of a new dominant aesthetic and culture is the larger strategic goal.
See Also: The Aesthetics of Dominance