[Context: Referring to an Architectural Digest post about Daniel Libeskind]

When I first saw this triangle-looking….thing, I knew instantly that a Jew made it. And I was right.

This, they say, is “a style of postmodern architecture characterized by fragmentation and distortion.” Ah, postmodern! That explains a lot.

[…]

A top Frankfurt School jerk-off, the communist Theodor Adorno (a half-Jew) had an interesting cultural theory, highlighted in his book Negative Dialectics (1966). It basically goes like this:

Traditional, old White things are, by default, “oppressive and threatening.” How? Because they are White, well-built, beautiful, functional and wholesome. As such, those things make substandard things made by Blacks, Browns, or leftists (e.g., art, architecture, music) seem ugly and amateurish by comparison. Since White things are superior, the other things seem inferior. So, modern art and architecture must be “celebrated” since they are “weapons” against the old ways: the antique, stuffy, White culture. So all “new” things must be celebrated and championed, and all “old” things must be rejected and torn down (China’s leader Chairman Mao had the same attitude, which led to his murderous Cultural Revolution in 1966).