Why is Yahoo Answers full of racists

Every halfway upright democrat is at least a little sick at the end of this exhibition. The reconstruction of the intellectual development of the Trump propagandist and temporary advisor to the White House, Steve Bannon, which is traced back to the Nieuwe Instituut in Rotterdam, shows in a terrifying way how susceptible democracy is to being destroyed by democratic means. The transformation from a Shakespeare lover and educator for climate issues to a racist demagogue with biblical end-time vocabulary, which is analytically described using Bannon's media products, does not seem so threatening as a personal path in life.

It is the masses of good patriots who consider Steve Bannon's crude mixture of the Revelation of St. John, right-wing Leninism, conspiracy theories and trivial understanding of history to be a credible explanation of the world that proves the dark reverse side of the Enlightenment. The entire democratic sense of mission is based on the assumption that freedom of expression can only lead to greater freedom and reason.

But now millions of allegedly enlightened Democrats believe with Steve Bannon that the white citizens of America as a chosen people must fight against the "beast", which among other things in Islam, in feminism or in the attempt of blacks, through high birth rates a "white genocide" to achieve, to embody.

The building blocks for Steve Bannon's ideological draft of a "Christian free market nationalism", which the artist and curator Jonas Staal brings together in "A Propaganda Retrospective", are actually not surprising for the biography of a conspiracy theorist. Until the attack on the World Trade Center, Bannon was a lurching character in search of meaningful occupation. He acted in an aggressive takeover business at the investment bank Goldman Sachs, worked as the head of a biosphere facility, as a writer for a rap musical, produced progressive Hollywood films with Sean Penn, among others, and finally tried to play the online game "World of Warcraft" in Hong Kong. digital additional elements for sale.

But after the shock of 9/11, Bannon began explaining the new world order to himself and others by screwing countless friend-foe narratives together. This gradually turned into an eschatological mythology of the messianic people of the white Americans in the fight against world evil. The spiritual foundation of this doctrine of salvation, which Bannon developed in epic pseudo-documentations on the history of mankind, is, besides the Bible and his nationalistic racism, above all the ideas of Ayn Rand and the speculative offshoot of Oswald Spengler's cyclical historiography for America by William Strauss and Neil Howe.

In her books like "The Fountainhead" or "Atlas Shrugged", Ayn Rand propagated the model of absolute individual freedom that is threatened by the norms of the community. With their conclusion that all forms of state should be rejected as structurally dictatorial, Rand's ego philosophy primarily provided ammunition for the Tea Party and its poster girl Sarah Palin, who was very much supported by Steve Bannon.

Strauss and Howe, on the other hand, invented the theory of the "Fourth Turning", a somewhat empirical biorhythm of American history, whose cycles of threat and liberation only appear logical if history is described extremely selectively - and, like Steve Bannon, of the all-enabling power of believes strong leaders like Reagan or Trump.

In this enormously fact-rich exhibition, Jonas Staal structures Bannon's ideological development and his demagogic means in different chapters. He shows Bannon's visual metaphor by summarizing the recurring style elements of his manipulative television documentaries on individual monitors: With natural disasters, predators, banknotes, images of war and bold graphics, Bannon creates an atmosphere of apocalyptic threat to American "freedom" in all of his films. In addition, he denounces all forms of left or black freedom movements as attempts to overthrow a God-given order of Christian rule in America.

In the end, Staal places Bannon's world view in the choir of the other ultra-right demagogues in the USA who worked together as stirrup holders for Donald Trump, such as Andrew Breitbart, David Horowitz, Tammy Bruce or Mark Levin. And he supplements this hate association, which is flamming the world fire for white American "freedom", with hate intensifiers on the Internet, for whom even these divisors are still not right enough. This embedding in the torchlight procession of linguistic violent criminals shows that even after Steve Bannon's somewhat abrupt end of his career in 2017, things are not for the better. Contempt for human beings, schematic thinking and a lack of empathy are still the political mainstream of the Trump era. And all of this is fully democratically legitimized. Oh dear.

Steve Bannon: A Propaganda Retrospective. Het Nieuwe Instituut, Rotterdam. Until September 23.