TRIGGERnometry - Why I Fear the Future - Konstantin Kisin

Episode Date: July 26, 2024

I never really understood why Jordan Peterson spent so much time focusing on the duality of order and chaos. I do now. Konstantin's Substack - https://substack.com/home/post/p-144883262 Konstantin's Twitter - https://x.com/KonstantinKisin Join our exclusive TRIGGERnometry community on Locals! https://triggernometry.locals.com/ OR Support TRIGGERnometry Here: Bitcoin: bc1qm6vvhduc6s3rvy8u76sllmrfpynfv94qw8p8d5 Buy Merch Here: https://www.triggerpod.co.uk/shop/ Advertise on TRIGGERnometry: [e-mail] Join the Mailing List: https://www.triggerpod.co.uk/#mailinglist Find TRIGGERnometry on Social Media:  https://twitter.com/triggerpod https://www.facebook.com/triggerpod/ https://www.instagram.com/triggerpod/ About TRIGGERnometry:  Stand-up comedians Konstantin Kisin (@konstantinkisin) and Francis Foster (@francisjfoster) make sense of politics, economics, free speech, AI, drug policy and WW3 with the help of presidential advisors, renowned economists, award-winning journalists, controversial writers, leading scientists and notorious comedians. Learn more about your ad choices. Visit megaphone.fm/adchoices

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In New York, Francis and I were invited to see a musical about the artist Tamara de Lempika. Lampica, the wife of a Polish noble, flees the Russian Revolution and ends up in Paris. With her husband struggling to adjust to his loss of status and wealth, the family lives in poverty until Lampica is discovered as an artist. She gradually finds her feet and eventually thrives in the rapidly changing world of the 1920s. Convinced that the unimaginable horrors of the past can never be repeated, Parisians cope with the trauma of World War I by what we would now call living their best lives. Limpeka thrives in this capital of hedonism, maintaining her marriage while also falling in love with a female prostitute who introduces her to the joys of opium.

Celebrated as a female artist who finally gives voice to the power of the feminine, through her work, she secures both wealth and popular acclaim. This entire period is depicted in the musical as a time in which the boring old ways are abandoned and favor of exploring variety, or, as we would now call it, diversity. In a scene that sums up the mood of the times, the proprietor of a lavish lesbian and transgender bar that Limpica frequents, opens it with the words fraternity, egality, lesbianity. While mainstream society remains skeptical, Parisian socialites do not just accept these minority sexual practices, they celebrate them as the antidote to the staleness of the old order, an order which put unity and social cohesion above the unlimited freedom

of the individual. Until I found myself sitting in the audience of Limpica, I never really understood why Jordan Peterson spent so much time focusing on the duality of order and chaos. I do now. Regular readers of my substack will remember that in the exchange I hosted there between James Orr and Stephen Higgs, about conservatism versus liberalism, James Orr explained that the primary concern of conservatives is the preservation of order. We also know from evolutionary psychologists, like our former guest Diana Fleischman, that societies which experience an increase in disease become more conservative with a small sea,

a statement which hardly needs explaining to anyone who was alive during a COVID pandemic. Put simply, as we ratchet up the amount of chaos, order rises to the top of people's concerns. As Limpica's story unravels, fascists and communists fight over the future of Europe, replacing the joys of chaos with the enforcement of order. Instead of celebrating variety and diversity,

they detest and punish it. Instead of embracing difference, they suppress it. Instead of worshipping the strong, independent woman, they produce grandiose masculine art in architecture and put the woman back in her rightful place of wife and mother. They have no tolerance for individual differences. On the contrary, they believe that a nation can only function if people submit themselves to the good of society.

Anyone who refuses must naturally be eliminated. People on the left frequently accuse me of being, being a conservative. Conservatives, on the other hand, claim me as one of their own and are inevitably disappointed when they discover that I am not. Why am I not a conservative? First, I'm not averse to chaos. In fact, I like it. I like offensive, sacrilegious jokes. I'm in favor of decriminalizing cannabis and psychedelics, which I've never taken, precisely because they allow us to transcend the rigidity of our thinking. I'm not threatened by the existence of sexual minorities. I do not believe that the institution of marriage is materially undefiolice.

mind by being extended to non-heterosexual couples. I have zero respect for unowned authority and am deeply suspicious of any hierarchy that is not explicitly based on merit and competence and them alone. I do not crave order and I do not fear chaos. What I fear is a lack of order and an excess of chaos. Like a bird with one wing, a society that fails to strike a balance between the forces of empathy on the one hand and pragmatism on the other will plummet to its death. Western culture is increasingly based on the idea that one of its wings is good and the other is evil. Whichever wing you personally favor is irrelevant. If we do not work together, we will not survive what is coming. And what is coming exactly? More on that in my next video.