By: Admin On: September 20, 2018 In: HighlightsEdit This
American Renaissance Mission:
“The matters of historical record discussed here in this website are published for the sake of the necessary transparency required between the law abiding citizens of America and the government of our republic.” So began the invitation from The Cult Street Journal to have us remaining members of the Sosh [the shorthand code name we have had to adopt in public – never in private- to refer to the society] volunteer our controversial story to be documented in this historical compendium. With thankful admiration for the editor’s intent, we submit the following, and let the chips fall where they may:
There are some parts to this story that have necessitated legal editing, in keeping with seal of information imposed on many of the witnesses who were able to contribute their accounts.. The purpose of this information now gathered here being neither to validate nor discredit the facts and testimony behind the true art historical and revolutionary economic movement of the American Renaissance of the mid to late 1990s, before the assassination of its leader, Sean Dorian Knight. Nor are any new findings meant to cast suspicion onto the once fervent investigation of the unknowable causes behind this still unsolved murder. But why then were the remaining followers of Dorian Knight so violently suppressed and disbanded by Federal authorities after being prosecuted for tax evasion and being falsely registered as a not-for-profit religious institution?
The truth about the man and the economic movement being hidden from the cannon of Art History and Popular Culture
If there are any living patrons or artist members still remaining of the American Renaissance – i.e. “Dorianites” in reference to the teachings of the late American artist and martyr Sean Dorian Knight – it is important to make clear the distinction that these members of A.R. bear no resemblance whatsoever to any white supremacist or ultra-nationalist right-wing group of the same name currently existing and that branched out around the same time.
Quite the opposite, although the origins of the American “Dorianites” do not run far from the same southern Virginia countryside called the land of the American Renaissance, the seeds of this economic movement – much like the American Revolution – first found their common ground in the city of Paris, France. The true American Renaissance, should it ever be reborn again, must be known foremost as an economic movement of class consciousness for all living artists without regard to race, gender, nationality or sexual orientation.
Indeed, while parochial politicians of today may come from and appeal to our lowest animal instincts as their only common denominator to divide and conquer, Sean Dorian Knight called to arms the untapped economic power of artists to unify around the world and awaken to their identity as an invisible race of people.
As the Lord said to Samuel, “Do not look on his appearance or on the height of his stature, because I have rejected him. For the Lord sees not as man sees: man looks on the outward appearance, but the Lord looks on the heart.” 1 Samuel 16;7
So, in essence, was the underlying relationship of Sean Dorian Knight with the divine, and which he translated into the belief of the invisible racial identity assumed by all creative artists as God’s true Chosen People. Who was it who wrote the Bible, his followers might say? Who painted the Sistine Chapel or created Symphony No.9? Was it the Jews or the Germans, or was it some hot blooded Italian? No cultural heritage of any nation was ever created by any of its citizens as a collective group. The only thing known for certain is that all of these monumental works were created by artists: an invisible and unrecognized race of people in their own right whose time of prophecy has come.
Yes, the indisputable evidence from the grand artistic heritage of all human history is that such divinely created works by artists, not only represent an entirely separate genetic stock of people found existing invisibly under the skin of all racial groups, but that furthermore their souls are gifted with a greater intimacy with the Supernatural. And yet, everywhere one can see, as the founder of the movement, Sean Dorian Knight proclaimed: they continue to struggle in chains enslaved by a system that lives and enriches itself on an artist’s work only once they are pennyless and dead.
But such was the impact of his message in the early 1990s – so intoxicatingly empowering to the many starving and destitute artists in America and the world – that Western intelligence agencies reacted at the highest levels to alert local and international authorities of this incipient menace:
“The danger of a violent revolutionary race, invisible and living among us. One whose new guiding mantra was that: in order to create, first you must destroy.” A menace all the greater because it was not based on mere reductive reasoning or false dogma, but the latest scientific findings in gene theory and evolutionary psychology of the time that are still being validated today.
And why should one need genetic proof, although we know it is something that runs in the blood? Artists were not only a distinct class of people, they were God’s people, Dorian said: Anyone could plainly see it in the fruits of their work. We are family, he said, and there is almost always one artist in each ordinary family that was put there for a greater reason on this earth.
So began the first seeds of the renaissance of a people.
A global awakening that still to this day represents a paradigm shift and revolution in Post Modernist art history as well as economic theory. As Adam Smith was to the industrial age, so Sean Dorian Knight is being celebrated here for who he was: the prophet of a new artistic age. Yet so revolutionary he was, this radically spiritual and ultra-Capitalist movement was targeted from its inception for the capacity of its controversial conclusions to lead to class warfare and devolve into a blood bath of violent consequences in their meaning to society. Not in the least for the growing legions of its artists who sought the destruction of all major museums as their path to economic riches and salvation.
Indeed, the gospel of the Society of the American Renaissance was a message that traveled – even before the age of the internet – like a virus feeding on its human hosts, calling on all artists to subjugate themselves to the power of beauty and to create: to pass on the inheritance and simplicity of his message with all of its terrorist leanings at the fringe that were so frightening and yet profoundly religious in scope.
As is the case that so many Utopian visions have inevitably led to tragic fall outs and internal treachery with the government on their shoulder, the brilliance of the Renaissance movement has been equally blessed as well as cursed in its peculiar brand of American prophecy. Hence, the purpose of this site is soley to dispel the countless falsehoods and confusions that have begun to circulate with regard to the story of the original movement for The Foundation of the Society of the American Renaissance.
And for those who gave up their lives or were prepared to die for its artistic and economic cause before the attacks of 9/11 – the truth of it’s fantastical spiritual journey to the embodiment of the American promised land (if that is the actual reason that it gained enemies far more powerful than it could destroy ) must be taken and perhaps may only be understood through the vessel of artistic experience.
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For the inner details of the secret art society all of America, and soon the world, will be talking about – get privileged access to the incredible beginning: Here
