https://openresearch.amsterdam/nl/page/77950/woningcrisis
As a child from the Bulgarian middleclass Joanna M. was influenced by a neoliberal mentality which one can define as “if you can’t beat them, join them,” and this way of thinking weakens the deteriorating social cohesion in the West.
When Joanna writes to me from Barcelona that “I am trying to figure out what I wanna do exactly” than this breaks my heart. I can feel enough empathy for the fact that after 28 years on our planet, she feels lost and lonely. When I once said that it surprised me that she had been receiving psychoanalytic treatment from her mother for so many years, she instantly reacted furiously out of some reflex, and began to defend both herself and her mother.
Imre Kertész, one of the greatest post-war Jewish writers of Europe, noted in his book, published in Dutch, De verbannen taal (2005): “Once, man was God’s creation, a creature with a tragic fate that needed redemption. This solitary being was first molded into a mass by ideological totalitarianism, then confined within the walls of a closed state system, and subsequently degraded into a lifeless part of its machinery. Now it no longer needs redemption, for it no longer bears responsibility for itself. Ideology has deprived it of its cosmos, but also of its loneliness, the tragic dimensions of the human fate. It was squeezed into a deterministic existence, where its fate is determined by its ancestry, its classification into a race or a class. Along with its fate, human reality was also taken from it, as well as the pure experience of life.”
This view explains Joanna’s flight forward, into the ever-unknown and, today, dark future. Because she was pursuing a vague course of art at the University of Amsterdam, I told her what the Jewish Hungarian Kertész had written in his 2005 book "De verbannen taal." In it, he set out that “It is the task of art to set human language against ideology, to restore the imagination and to remind man of his origins, his true situation, and the human destiny. The artist’s choice can therefore be nothing other than radical.” Suddenly, she reacted sharply, saying she had had enough of my contemporaries and their hypocrisy.
You know what they want? They want obedient workers. Obedient workers, people who are just smart enough to run the machines and do the paperwork. And just dumb enough to passively accept all these increasingly shitty jobs with the lower pay, the longer hours, the reduced benefits, the end of overtime and vanishing pension that disappears the minute you go to collect it, and now they’re coming for your Social Security Money. They want your retirement money. They want it back so they can give it to their criminal friends on Wall Street, and you know something? They will get it. They’ll get it all from you sooner or later because they own this fucking place! It's a big club, and you ain’t in it! You, and I, are not in the big club!”
George Carlin said this after the neoliberal Western elite and the former communist elite in the Eastern Bloc were in power in the early 1990s. But the public behind the Fallen Wall had never been told that, since their own elite had no interest in it, and the Western media, in the service of a small group of “billionaires,” would not dream of seriously informing the public in the Eastern Bloc. The journalistic euphoria following the fall of the East Berlin Wall was too great to warn the -- in the meantime -- unemployed factory workers that the Western model is built on illusions. And as for the Joanna's who had not experienced real-life communism, they are now too busy looking as Western as possible, in fact becoming as invisible as possible. They didn't get the chance to develop their own individuality. This became apparent, among other things, when she suddenly appeared on a weekday in a black lace see-through blouse.
This is how Joanna M. wanted to present herself to the public. This is what the West taught her. As a disguised person, she herself became invisible. She imitates the western petty-bourgeois advertisements in the glossy magazines. This was the result of having visited universities in the U.S. and Western Europe. After casting a single glance at her, I realized why intellectuals in both West- and East-Europe will always lose.
The first Bulgarian edition of the Forbes magazine will present its own "subjective" list of the twenty-one most influential and richest Bulgarian entrepreneurs as it hits the market on November 10, when the country marks the collapse of the communist regime.The Czech-born author Milan Kundera stated that one can indeed imagine the future “without class struggle or without psychoanalysis, but not without the irresistible rise of ready-made ideas which, introduced into computers and propagated by the mass media, carry the danger of soon becoming a power that crushes all original and individual thought and thus stifles the true essence of the European culture of our time.” As an admirer of Gustave Flaubert's work, Kundera stated that 'the most shocking thing' in his 'vision of folly' is the fact that “folly does not fade in the face of science, technology, progress, or the modern; on the contrary, with progress, it too progresses!” In 1983, during a lecture in the lion's den—the United States—Kundera raised the question of where the obsessive urge to dominate the world came from:
“To be richer? Happier? No. The aggressiveness of violence is perfectly uninterested, unmotivated; it wants only its will; it is the purely irrational. Kafka and Hasek confront us... with this colossal paradox: during the era of the Modern Age, Cartesian reason destroyed one by one all values inherited from the Middle Ages. But at the moment of the total victory of reason, the purely irrational (violence that wants no more than its will) takes possession of the world stage, because there is no longer a single accepted value system that could stand in its way.”
Thanks to this insight, it becomes understandable that mainstream journalism does nothing but engage in propaganda for whatever system is prevailing. Commercial journalists generally function as priests of a so-called progressive ideology, which cannot exist without an image of an enemy. And in this regard, it is “not so important that different political interests are expressed in the various organs of the media. Behind the outward difference, one and the same spirit prevails. You only have to look through American and European opinion papers, from the right as well as the left, from Time to Der Spiegel: in all those papers you find the same view of life, reflected in the same order in which their table of contents is structured, in the same sections, the same journalistic approach, the same choice of words and style, in the same artistic preferences, and in the same hierarchy of what they consider important and insignificant. The common state of mind of the mass media, which lies hidden behind their political diversity, is the spirit of the times.”
Kundera shows that the propagandistic view of reality is diametrically opposed to the complexity of the novel, with all its subtle layers. Gustave Flaubert, too, abhorred the simplistic nature of the press. As early as 1866, the French author wrote in a letter to a friend: “You speak of the depravity of the press; it makes me so deathly ill that newspapers give me outright physical disgust. I would rather read nothing at all than those detestable pieces of paper. But people do everything possible to make something important out of it. They believe in it and they are afraid of it. That is the root of the evil. As long as respect for the printed word has not been eradicated from the world, we will not get a step further. Instill in the public a love for the great and it will abandon the small things, or rather, it will let the small things eliminate themselves. I consider it one of the happiest circumstances of my life that I do not write for newspapers. It does not do my wallet any good, but my conscience benefits from it, and that is the most important thing.” Five years later, he wrote in a letter to George Sand: “The whole dream of democracy consists of raising the proletarian to the level of stupidity of the bourgeois. That dream has already been partially realized. He reads the same newspapers and has the same passions.”
Gustave Flaubert had a keen insight into the psyche of the modern mass man/woman. He realized sooner than anyone else that, despite progress, folly would not yield, a fact that, according to Kundera, “was the greatest discovery of a century that was so proud of its scientific reason." since "folly does not fade in the face of science, technology, progress, or the modern; on the contrary, with progress, it too moves forward!” After all, “modern folly means not ignorance, but the thoughtlessness of ready-made ideas."
"Some eighty years after Flaubert conceived his Emma Bovary, in the 1930s (nineteenth century. svh), another great novelist, Hermann Broch, would speak of the heroic efforts of the modern novel resisting the wave of kitsch, but ultimately being floored by it."
Joanna M., realize that “The word kitsch refers to the attitude of someone who wants to please as many people as possible at any cost. To please, one must conform to what everyone wishes to hear, be at the service of ready-made ideas, in the language of beauty and emotion. It moves us to tears of self-pity over the banalities we think and feel. After more than fifty years, Broch's motto [Hermann Broch, Vienna--New Haven, was an Austrian modernist writer and philosopher of Jewish descent. svh] is now only becoming truer. Based on the compelling necessity to please and thus attract the attention of the largest possible audience, the aesthetics of the mass media are inevitably that of kitsch, and as the mass media increasingly encompass and infiltrate our entire lives, kitsch becomes our daily aesthetics and morality.
While reading, I was reminded of the description by the late British author John Berger that: “Consumption and communication are nowadays united in a diabolical company, and through this company exists that which we know as the media. First and foremost, the media represent an economic contract whereby everything that happens in the world is linked to the mechanism of sales.”
Just as the clergy in the Middle Ages determined what the truth was, so today the mass media ordain what the truth looks like, and above all, how it must be experienced by the masses. In his essay-collection *Stemverheffing*, published in 1992, Berger wrote: “The assumptions on which the media corporation proceeds on behalf of the public are not only blind but also blinding… Perhaps it is precisely at this point that our form of democracy is dying a slow death. If so, it is the result of a refusal. The refusal of the media corporation to acknowledge the fact, and to let it sink in, that the public knows in its heart how the world works… The reason for this refusal, which is a threat to our form of democracy, the reason why the media corporation systematically underestimates what we have in common, that reason is always the same: the normless urge to sell… What I want is for people to become aware of how dirty the media corporation serves them as a public. Dirty, because the dignity of viewer and viewed is being swept under the rug. Restore something of that dignity—give people time, shift the usual center of gravity—and bad news turns an interruption into the truth.
There are countless truths for which no direct solution exists. The word ‘solution’ does not touch upon the tragic. We must come into contact with the tragic and allow ourselves to be moved by it. We might be changed by it if we named it. Even named, the tragic remains tragic, but it would not become bad news. Only from that perspective is realistic politics possible.
And because making a profit is the holiest article of faith for neoliberalism, Berger speaks of "the dealers of the Free Market and their corollary, the Mafia,' who know that “they now have the world in their pocket. They have. But to maintain their confidence they have to change the meaning of all the words used in languages to explain or praise or give value to life: every word, according to them now, is the servant of profit. And so they have become dumb. Or, rather, they can no longer speak any truth. Their language is too withered for that. As a consequence they have also lost the faculty of memory. A loss which one day will be fatal.”

















