We are fully aware of the fact it is at this juncture, which perfectly lends itself to be called a turning point, that the place for Russia and all other countries and forces in the future international architecture will be determined. – Sergey Lavrov
Russians think in terms of architecture, what my father called the architectonic, the grand strategic form that fosters and holds together all facets of a finished work of art. One sees it in Kandinsky’s paintings, Rachmaninov’s music, Red Army choices of movement against Germans and later Afghans, and Russian Federation Armed Forces choices of movement against Victoria Nuland’s Fascist proxies in Ukraine.
The architectonic is a masculine presence which channelizes the ubiquitous feminine energy into works of beauty, including the feminine form itself.
Russians want to see the composition before they paint, write, move. And they want the total work organized organically, from its own nature, as a something, a work of art that stands on its own without assistance because of its high-strength internal architecture.
When a Russian builds a house, it is, as we would say of an especially attractive woman, really put together.
Fascists — including Euro-American varieties — see the world as a clash of civilizations, a melee of constant grasping for wealth, dominion, and women, money, drugs, and sex; the end of historical evolution, debouching into a single vast global hegemony of liberal democracy ruled by experts.
Russians — and all normal people — see the world as works of art, their art — architectures — to satisfy the soul’s yearning for happiness by way of making lovely things that are useful in one’s hands and satisfying to one’s feelings.
- Cf. the recently created Main Cathedral of the Russian Armed Forces and its grounds. This beauty is really put together.
Foreign policy should be no different than a Kandinsky or an El Greco . . . or a Cezanne. Grand national strategy as well as military strategy, operations, and tactics should be no different than a Bach or a Rachmaninov . . . or a Puccini. These constructions should have the rigorous internal architecture of a work of art as their architectonic majesty. They make life durable and endurable.
Fascists cannot understand this much less do it. Russians, and all normal people, understand this and do it, to their credit and success.
American families and other teachers should rear engineers, revere engineering, and invite attention to the engineered masterpieces which lift and lighten the hearts of men and women.
From Russia’s response to Victoria Nuland’s attempt to straddle the world with The Fourth Reich, based in Washington, D.C. and still eagerly Fascist, comes a new order of nations. In this new order, nations benefit from the organic architecture of mutually-agreed treaties regarding fair trade and indivisible security.
The nations reject Victoria Nuland’s Fourth Reich, her rules-based international order, because it has no internal strength, no architectonic. It is purely personal, not business. It is energy taken to chaos. The Fourth Reich, Nuland’s rules-based international order, is whatever Victoria, Klaus Schwab, and their associates want to tell the world to do at any given time they get an urge to tell the world what they want them to do with rules cooked up by themselves. They do have one constant rule, however, for almost everyone except themselves: get rid of yourself.
Russia has told Nuland and her Fascists:
идите стучите по песку
idite stuchite po pesku
go pound on the sand
Principle I
Principle II
Principle III
By Artists M and F Graham
At Puttaparthi, Andhra Pradesh, India
