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Quote by Jef Costello

“Rand, Huxley, Orwell, and Bradbury foresaw much of today’s dystopian world: its spiritual and moral emptiness, its culture of consumerism, its flat-souled Last Manishness, its debasement of language, its doublethink, its illiteracy, and its bovine tolerance of authoritarian indignities. But they did not foresee the most serious and catastrophic of today’s problems: the eminent destruction of whites, and western culture. None of them thought to deal with race at all. Why is this? Probably for the simple reason that it never occurred to any of them that whites might take slave morality so far as to actually will their own destruction. As always, the truth is stranger than fiction.”

Quote by Jef Costello

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Jef Costello

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“Nietzsche talked about “good and bad” in the context of nobility. The nobles regarded the exceptional as good and the mediocre as bad. When the “good and bad” of the nobility was replaced by the “good and evil” of the mob, exceptionalism was declared evil, and mediocrity was sanctified. The holy mediocrities are now everywhere. The kingdom of mediocrity is absolute … absolute shit!”

“Christmas is about community, collaboration, celebration. Done right, Christmas can be an antidote to the Me First mentality that has rebranded capitalism as neo-liberalism. The shopping mall isn't our true home, nor is it a public space, though, as libraries, parks, playgrounds, museums and sports facilities disappear, for many the fake friendliness of the mall is the only public space left, apart from the streets”

“Feeling in the middle of things, at the place to and from which streets flow, where people come not to escape the city but to be inside it: This us usually what defines a successful square. It is a space around which the rest of a neighborhood or town or city tends to be organized [Michael Kimmelman, "Culture: Power of the Place"].”

“And is it not the artists that make art? Well, no: criticism is now the substance of art making to such a degree that many of today’s public artists do away with the product as an issue, and make public debate the contents of their art. In doing so they are not redefining art so much as redefining public space. The debate itself has become the public space.”

“What do we mean by a public square? For starters, it is rarely square. . . . It may be a quadrangle or rectangle or circle or pretty much any shape, and it can be open or closed. It might even be a park . . . through which people pass, going from one place to another, not simply a retreat. A square is porous, balancing its porousness with some focal point, like a fountain or a reliable patch of sun with some benches that marks a break from the cars and streets and invites people to stop, look, exhale, find one another [Michael Kimmelman, "Part One: Culture: Power of the Place, Introduction"].”