NIHILISM The Root of the Revolution of the Modern Age by Eugene (Fr. Seraphim) Rose Modern art has had a similar appeal, and its similar reaction against lifeless academic "realism" has likewise led into strange fields. New and exotic sources and influences have been found in the art of Africa, the Orient, the South Seas, of prehistoric man, children, and madmen, in spiritism and occultism. Continual "experimentation" has been the rule, a constant search for "new" forms and techniques; inspiration has been found above all in the "savage," the "primitive," and the "spontaneous." Like the Futurists in their manifesto (though Futurism itself can hardly be taken seriously as art), the most typical modern artists have exalted in their works "every kind of originality, boldness, extreme violence," and they have likewise believed that "our hands are free and pure, to start everything afresh." The artist, according to the Vitalist myth, is a "creator," a "genius," he is "inspired." In his art Realism is transformed by "vision"; it is a sign and a prophecy of a "spiritual awakening." The artist, in short, is a "magician" in his own realm in precisely the same way Hitler was in politics; and in both it is not truth, but subjective feeling, that reigns. In religion--or, to speak more precisely, pseudo-religion--the restless experimentation characteristic of Vitalism has manifested itself in even more varied forms than it has in the schools of modern art. There are, for example, the sects whose deity is a vague, immanent "force"; these are the varieties of "new thought" and "positive thinking," whose concern is to harness and utilize this "force," as if it were a kind of electricity. Closely related to these are occultism and spiritism, as well as certain spurious forms of "Eastern wisdom," which abandon all pretense of concern with "God" explicitly to invoke more immediate "powers" and "presences."