Saturday, December 2, 2017

The Mathematics of the Culture War On America

The Culture War on America embraces subjective reality - it is a weapon of destabilization in the information war

The Mathematics of the Culture War On America

The Mathematics of the Culture War On America
Kurt Lewin, the 20th century German-American psychologist, is recognized as the founder of social psychology - the study of how the personality, attitudes, motivations, and behavior of the individual influences and is influenced by the group.
Lewin studied group dynamics and organizational development and challenged the prevailing “nature vs nurture” debate on behavior. Departing from conventional psychological theory, he developed a mathematical equation of behavior which claimed that an individual’s immediate situation - not necessarily past influences - was a strong determinant of behavior.
Lewin’s equation, B = f (P,E) contends that behavior is a function of the person in his environment, what he called that person’s “life space” or “field.” Lewin theorized that neither nature nor nurture was enough to explain an individual’s behavior - that it was the interaction between the individual and his constantly changing environment that produced the result.
There are fields and vectors in mathematics. Force-field analysis examines all the factors/forces that influence a person or group’s behavior. Lewin believed that a person’s behavior exists as a function of his total field/environment (life space) which is dynamic and constantly changing. It is the psychological equivalent of the famous Heraclitus quote, “No man steps in the same river twice.”
Lewin introduced the concept of “genidentity” defined as identity through and over time. Since no two lives have the same life experience, no two lives can be living in the same reality. This multiple-reality construct denies an objective reality and embraces reality as a subjective perceptual phenomenon.
Consider this example: A man is walking down the street. There are four people nearby. The first person says there is a man walking down the street. The second person says there is a person walking down the street. The third person says I’m not sure who is walking down the street. The fourth person says there is a woman walking down the street.
The objective reality is that a man is walking down the street regardless of what the observers perceptions are. Objective reality is rooted in facts and exists independent of the perceptions of those facts. Subjective reality tolerates conflicting realities because it is rooted in perceptions and informed by opinions. The consequence, of course, is that societal acceptance of multiple realities ultimately creates chaos because there is no agreement regarding what is real.
The Culture War on America embraces subjective reality - it is a weapon of destabilization in the information war.
In mathematics, topology is defined as the study of geometric properties and spatial relations that are unaffected by the continuous changes of shape or sizes of figures. A circle can be stretched into a triangle and still retain its properties. Topology is sometimes called rubber-sheet geometry because it does not distinguish between a circle and a square. Topological spaces are the spaces studied in topology.
Lewin believed the individual’s field can be expressed as a geometrical topological construct like the circle stretching into a triangle and then reshaping into a rectangle as that individual’s environment changes. He developed a theory of behavior (topological psychology) utilizing philosophical and mathematical concepts.
Topological psychology focuses on group communication, group dynamics, and social psychology rather than individual psychology. His work was foundational in the development of group psychology and what we now identify as Orwellian groupthink.
Lewin’s topological psychology is the foundation for his three-phase model of change that has been applied in business organizations to reorient employees toward cohesiveness and solidarity.
The three phases are simplified as Unfreeze -> Change -> Refreeze. The process can be visualized geometrically as:
  1. a cube of ice that melts into
  2. a puddle of water that is reshaped and refrozen into
  3. a cone of ice.
Lewin’s group-change theory has a lot in common with mind-altering methods and brainwashing techniques that break down an individual’s defense mechanisms and established sense of identity. conventional values are shattered and replaced with new standards and the desired mindset - the individual has been “reprogrammed.”
it is not difficult to see why this works. human beings seek homeostasis - balance - both physically and mentally. they are uncomfortable being destabilized and desire equilibrium. the leftist effort to reshape american culture is utilizing an expanded version of lewin’s three-stage change process to dismantle existing established cultural norms and replace them with socialism.
Continued below...

Unfreeze -> Change -> Refreeze = the Culture War on America

Unfreeze -> Change -> Refreeze = the Culture War on America.
To unfreeze the American mindset, every communication sphere has been targeted:
The educational system, public and private, is indoctrinating and reprogramming students with the Leftist narrative of political correctness, moral relativism, and historical revisionism.
The media - including television, movies, radio, and the Internet - is indoctrinating and reprogramming audiences with repetitive Leftist messaging in an echo chamber of collectivist propaganda, desensitizing violence, and degenerate sex.
The colleges and universities have graduated “experts” in the social sciences of sociology, psychology, communications, and political science who are indoctrinating and reprogramming the next generation in their Leftist principles.
In every sphere the transfer of information is biased toward anti-American collectivism at the expense of established cultural norms of individualism and the meritocracy. The Culture War on America is an information war that seeks to destroy America from within by changing the American mindset to reject individualism and embrace collectivism.
America has completed the first unfreezing stage that required overcoming entrenched Judeo-Christian norms and dismantling individual existing established attitudes. A comparison of American life and its reflection in television programming demonstrates the seismic shift and breakdown of established cultural norms of behavior. We are now fully engaged in the transitional second phase of change characterized by confusion.
People are shocked by the changing mores and standards of behavior. Parents are shocked by their children’s attitudes and behaviors. Employers are dismayed by employee attitudes and behaviors. College campuses are being overrun by anarchists. There is an awareness that life is different and becoming very unfamiliar. Things seem out of control, chaotic, and incomprehensible.

Kurt Lewin’s unfreeze -> change -> refreeze model of change is the psychological infrastructure being used to manipulate Americans into accepting collectivism

The chaos causes extreme anxiety and confusion. Human beings seek equilibrium - people want relief from stress. If they become uncomfortable enough, they will accept anything that stabilizes society and ends the chaos. Society then enters the final stage of change which refreezes the culture into an entirely different shape and restores a sense of social equilibrium.
Kurt Lewin’s unfreeze -> change -> refreeze model of change is the psychological infrastructure being used to manipulate Americans into accepting collectivism as the new normal. It is a sinister power grab by the Left in its culture war on America.
The hippies of the ‘60s did not go quietly into the night when they left campus and the enemies of America did not disappear after WWII. They reconstituted themselves as college professors, deans and administrators, teachers, sociologists, psychologists, political scientists, media executives, and Hollywood bosses, all cooperating in the culture war on America that seeks to destroy American democracy and replace it with socialism.
We are at the tipping point in the Culture War on America. If the war continues unopposed, one more generation of Leftist indoctrination will assure a voting public eager to refreeze America into a cone. The cone is worth examining. Collectivism, whether socialism or communism, is being marketed as the great equalizer. It is being falsely advertised to gullible young people as providing social justice and income equality. Young people imagine collectivism as everyone living the good life of happiness, equality, and individual freedom reflected in the lyrics of John Lennon’s song “Imagine.”
Here is the problem. Real time experiments in socialism and communism exist in Venezuela, Cuba, and Russia today. The objective reality is that there is no income equality in these countries. Instead, there is widespread poverty, shortages of every kind, and rampant violence. Only the privileged elite occupy the tip of the cone in collectivism.
Worse, there is no individual freedom without private property. The objective reality is that when the government owns the property, the citizens are employees of the government and do not own the fruits of their labor - the government does. It is up to the government to distribute or withhold the products. The elitist tip of the collectivist cone always takes care of itself.
We the People who live in objective reality must continue to expose the Left’s destructive agenda. We cannot retreat. We cannot submit to their indoctrination into subjective reality. We must remain vigilant and become outspoken warriors in the war of ideas. It is imperative that we express our love of country and protect our representative government for the people and by the people.
We must preserve free speech and the rights of citizens to own private property and enjoy the fruits of their own labors. America will remain the land of the free and the home of the brave only if we refuse to be Unfrozen, Changed, and Refrozen. The choice is ours.

Linda Goudsmit -- Bio and Archives | 1 Comments
Linda Goudsmit (,  is a devoted wife, mother, and grandmother. She and her husband, Rob owned and operated a girls clothing store in Michigan for 40 years and are now retired on the beach in sunny Florida. Linda graduated from the University of Michigan in Ann Arbor, earning a B.A. in English literature. Having a lifelong commitment to learning, she is an avid reader and observer of life. She has shared her thoughts, observations, and philosophy of behavior in her book DEAR AMERICA Who’s Driving the Bus? Linda is currently working on a children’s book series titled Mimi’s STRATEGY that offers helpful problem solving techniques encouraging resourcefulness and critical thinking skills for kids.

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Pinups in the Post-Weinstein World

Emily Ratajkowski in the Love Advent calendar. CreditPhil Poynter
This is a big week for women in their underwear.
On Tuesday, the Victoria’s Secret fashion show, a.k.a. “the world’s biggest fashion event,” airs on TV in the United States, and millions of people are expected to tune in to watch models including Karlie Kloss and Bella Hadid and Lais Ribeiro strut down a runway in Shanghai, wearing thigh-high lace-up stiletto boots, various filmy bits of lingerie and one diamond-bedecked $2 million bra, many of them with gigantic wings sprouting from their shoulders.
Then, on Friday, Love, the British magazine beloved of fashion insiders and run by the super-stylist Katie Grand, will begin the online rollout of what has become its biggest event of the year: a video Advent calendar. This year’s version features short films of assorted celebrity models boxing and bouncing and otherwise making muscles in varying amounts — or not — of clothing. The videos will appear every day between Dec. 1 and early January.
Last year, 1.4 billion people in 192 countries saw the Victoria’s Secret show, and 84 million watched the Love videos (11 million watched Ms. Hadid’s alone), according to each company. Those figures are far and away the largest numbers of viewers who come to either brand, and among the largest numbers of viewers attached to a fashion event of any sort. There’s a clear business imperative for the undress-for-success concept.
Continue reading the main story
Bella Hadid in the 2017 Victoria’s Secret fashion show in Shanghai. CreditMatt Winkelmeyer/Getty Images Asia Pacific
But in the current cultural climate, where powerful men are tumbling like bowling pins because of bad behavior that has its roots in the objectification of women, what about the moral imperative? What fantasy, exactly, is all this feeding?
The issue of the pinup in a post-Weinstein world is more complicated than it may first appear.
“In the wake of the Harvey fallout and women coming forward with incredible amounts of sexual harassment cases, I have been so disappointed to hear women talk about ‘modesty’ and ‘our responsibility,’ as if we need to, yet again, adjust to make it ‘easier’ for the rest of the world,” said Emily Ratajkowski, whose video — in which she drapes herself suggestively in spaghetti while wearing lacy lingerie and knit gloves — is scheduled for Day 3 of the Love calendar.
Continue reading the main story
“I’m tired of having to consider how I might be perceived by men if I wear the short skirt, or post a sexy Instagram,” she said. “I want to do what I want to do.”
A photo from the book “Backstage Secrets” by Russell James, featuring Taylor Hill, right, and Kendall Jenner in Paris at the Victoria’s Secret fashion show in 2016. CreditRussell James
Victoria’s Secret has long framed its show as being about female empowerment: women owning their sexuality, facilitating their fantasies of being fairy princesses or, it seems, Pocahontas. (The feathered pseudo-“Native American headdress,” which is actually a Finnish tufted snow hood, makes a reappearance in the show in a section entitled “Winter’s Tale,” paired with tribal corsetry and peep-toe boots.)
This is a familiar line. It’s how Madonna promoted her book “Sex,” and how burlesque is often portrayed by stars like Dita Von Teese, not to mention Liz Goldwyn in her documentary and book, “Pretty Things,” which looked at the history of the stripper’s art and her fascination with it. And Victoria’s Secret is sticking to that argument.
“I know there’s this other thing out there,” said Edward Razek, the chief creative officer of L Brands, the owner of Victoria’s Secret, and the executive producer of the fashion show. “But for us this is about a power and uniqueness men can’t compete with.”
Nadine Leopold in the 2017 Victoria’s Secret fashion show in Shanghai.CreditTheo Wargo/Getty Images for Victoria's Secret
Russell James, the longtime backstage photographer of the Victoria’s Secret show, whose new book, “Backstage Secrets,” was just released, said much the same: “These women own their look, they have the voice, they have the power.”
And, said Mr. Razek: “They are the most beautiful, physically fit women on the planet. You can’t get a supermodel to do anything they don’t want to do.”
If you accept this argument, it can just seem a bit odd that, judging by the show, what they want to do is play the part of a highly decorative soft-core siren for a day.
Continue reading the main story
Jourdan Dunn in the Love Advent calendar. CreditPhil Poynter
Which may be why Mr. Razek tempered his remarks by acknowledging that “there’s always the risk of blowback. Taylor Swift said it best: ‘Haters gonna hate.’” (He also rebutted the suggestion that there were any political issues in going to China, despite numerous reports about Gigi Hadid and Katy Perry being denied visas for various politically incorrect activities. Rather, he insisted, “the Chinese have been incredibly welcoming and protective.”)
If Victoria’s Secret is rejecting any complicity for helping promulgate certain retrograde ideas about women’s bodies, however, Love has, to a certain extent, tried to grapple with the problem.
“It would be dumb not to think about it,” Ms. Grand said. “We’re probably in the most heightened time in fashion I’ve ever known, and it feels very much like the eye of the storm.”
Continue reading the main story
Ms. Jenner in the Love Advent calendar. CreditPhil Poynter
The Advent calendar has been ramping up since its introduction as a “laugh” in 2011. Last year, the director Hype Williams got involved, and it became, Ms. Grand said, “a lot sexier.” This year, a different creative consultant initially came on board: Lena Dunham.
“She said she thought it was liberating and wanted to get involved,” recalled Ms. Grand, who said that Ms. Dunham (who was recently castigated for defending a male colleague after he was accused of rape, and who later apologized) contacted her about being part of the Advent. They had not known each other beforehand. “I thought it was a pretty smart way to take it somewhere else,” Ms. Grand said.
Ms. Dunham did not end up becoming as involved as they had planned because of illness, according to Ms. Grand, and has since distanced herself from the project. As a result, the majority of the other shorts were set in a gym and directed by Phil Poynter, the idea being to express power.
Continue reading the main story
Karlie Kloss in the Love Advent calendar. CreditPhil Poynter
“I was working out every morning at Dogpound,” Ms. Grand said, referring to a personal training gym in New York where she went while she was in the city to style a Marc Jacobs show in September. “I would see Karlie and Ashley every morning just going for it.” That attitude, she said, was what she wanted to capture.
Ms. Grand said her stars largely chose their own scenarios. Kendall Jenner wanted to be Rocky, so she is shadowboxing in gray sweats and a sports bra. At one point, Ms. Dunham had the idea that she would direct Gigi Hadid as a standup comedian doing a sketch while totally naked, but they couldn’t make their schedules align, according to Ms. Grand, and Mr. Poynter had to take over.
That changed their plans. “It was one thing for Gigi to be naked in front of Lena, and another thing entirely to ask Gigi to be totally naked in front of Phil Poynter,” Ms. Grand said. So Ms. Hadid ended up playing volleyball and kick boxing in a sports bra, thigh-length leggings and lots of smoky eye makeup.
Some of the videos, like one starring Jourdan Dunn in a red high-cut bikini, over-the-knee boots and a satin baseball jacket, oiled up and wielding an aluminum bat, or Ashley Graham crouching to pull a tire down a city street in a sports bikini, cleavage in your face and asway, are eye-rollingly raunchy. But others — Ms. Kloss playing basketball in gym shorts, knee socks and a cutoff muscle tee — are less overtly sexualized. Either way, they all come accessorized with irony and end with the words “Stay strong.”
The result can seem a little confused, toggling between classic frat boy suggestiveness and confidence-through-sweat. But for that reason, they also reflect the confusion about what exactly these projects should represent right now.
Because, even if you accept the argument that the women involved enter into both experiences with eyes wide open and alacrity in their hearts; even if it is true that the self-aware and collaborative subtleties in Love set it apart, and that, according to Victoria’s Secret, two out of three people watching its show are women, those involved don’t control external perception, or even ensure that anyone will get their message. There is a reason Pirelli has veered away from nudity and toward a different kind of celebratory storytelling in its famous calendar.
“This is something I’ve battled with personally and publicly,” Ms. Ratajkowski said. “I’ve had men comment on sexy images of me online and say, ‘This is empowering to you? Ha! I just masturbated to it so hope you feel good about yourself!’ I guess that’s the way people can react, which ironically serves my point.
“I don’t care about your reaction or what you do with my expression of self. In fact, it has nothing to do with you at all, and that’s the point, which is why it feels good. Ultimately, if a woman wants to wear a burqa or nothing at all, it’s great — if it’s what she wants and feels good about.”
But if it’s a product made for public consumption, which the Victoria’s Secret show and the Love Advent calendar are, people’s reactions are certainly part of the point. And by presenting women as, well, presents — unwrapped but with the bows still on — both the show and the calendar may be suggesting it is O.K. for others to see them the same way, too.
“All men and women need to think about everything that happened and whether there is anything we can do better,” said Mr. James, the photographer, who noted that there is a “fine balance between exploitation and empowerment.” Debate as we might, we still don’t know exactly where it is.
Correction: November 27, 2017 
An earlier version of the article misstated the section of the 2017 Victoria’s Secret Fashion Show that includes a pseudo-“Native American headdress.” It is “Winter’s Tale,” Not “Nomadic Adventure.”