Paint it White

by Douglas Mercer

EVERYONE KNOWS THAT Whiteness is the quintessence of perfection and beauty. A quick look around will show anyone as much. The White race’s aesthetics and accomplishments put the other races to shame; and of course they know it. Which is why they need to go to such great and often lunatic lengths to try to downgrade Whiteness. It is the jealousy and resentment of the lesser breeds, led along by Jews and Whites who have defected. These types proliferate in the ranks of possessors of worthless PhDs.

I’ve just spent a week in a very white place. The snow fell solidly for two days, and everything was white – the air, the ground, the trees, the streets. And to complete the picture, the houses, in the little seaside town south of Oslo, blended in perfectly, being painted pure, brilliant white.

How paradisical! White, white everywhere; and nothing else to see. The very notion of heaven and paradise is saturated with Whiteness, and this is no accident. In ancient times the colored races must have always been in awe of White people; so advanced, so bold, so adventurous; it was always the White man embarking to where the colored man lives, and he must have appeared at first as a divine apparition. The idea that the White man was a god is perhaps a vestige of some ancient memory; or perhaps it is just a logical deduction from what witnesses saw with their own eyes. But either way, until very recently indeed it was the colored world that had to deal with the White world and never the other way around.

White was always a popular shade. In ancient Egypt and ancient Rome, priestesses wore white as a symbol of purity. Romans wore white togas to symbolize citizenship. White was the most common shade for new churches and government buildings from the 1800s onwards. It’s an important color in several religions, often symbolizing purity, innocence and virginity.

The irony is that everyone knows this; for all the talk of Wakanda and Kangz and Aztec “greatness,” the colored world fetishizes Whiteness. For them, light complexion and light anything is a status symbol. And why not? In their deepest recesses, the place that no ideology can penetrate, they know that Whiteness is the symbol and quintessence of beauty and perfection.

Officially, however, not everyone is on board. It would be one thing if these haters constituted only ill-willed grumblers or were like the dog that yaps at our ankles; but these people are loaded up with ruling-class backers and want nothing more than to slit our throats.

According to Norwegian academics, whiteness and white supremacy are terms to take literally, and the color white, in particular the white paint that is so commonly used on Norwegian houses, equals racism.

White paint? Oh yes, if there’s a disease out there circulating in the academy, they will gussy it up and give it the dignity (or indignity in their case) of a “theory” and an “ideology.” All it takes is some meaningless hundred-dollar words, a government grant, a smattering of footnotes, a bibliography, and the repetition of the bogey word “White” a thousand times. Some of these larvae have made worldwide reputations with less.

From the research project How Norway Made The World Whiter co-authored by Ingrid Haland, an associate professor at the University of Bergen, we learn that: “Whiteness is one of today’s key societal and political concerns. Within and beyond academia worldwide, actions of revolt and regret seek to cope with our racial past.”

Cope? They make it out like we are crippled. Our racial past is glorious. One day, each and every one of them will be picked up in the first wave of arrests.

In the pivotal works in whiteness studies within art and architecture history, whiteness is understood as cultural and visual structures of privilege. The new research project How Norway Made the World Whiter (NorWhite) funded by the Research Council of Norway addresses a distinctively different battleground for politics of whiteness in art and architecture.

Pivotal! One need not be a White nationalist to wonder whether there really is such an animal as a “pivotal work” in “whiteness studies” (but it helps). These texts outline in bold colors the “plight” of colored people in the richest society ever seen on Earth, one that they could never have created in a million years — and we know this because they didn’t. (All races have had the same amount of time, Sunshine.) They went from mud huts to spaceports and computers, and all they had to do was get on some boats to Whiteland. Pivotal!

Two core premises underpin the project: Whiteness is not only a cultural and societal condition tied to skin color, privileges, and systematic exclusion, but materializes everywhere around us. Second, one cannot understand this materialization without understanding the societal, technological and aesthetic conditions of the color itself.

They have one core premise: Whites are evil. This is unsupported by any empirical evidence, but that never stopped Jews and their allies and sycophants from pushing it like madmen. And here we get to the crux of this Norway Whiteness idea: It’s the reductive notion that it is color that comprises the main difference between the races. But race is much more than skin deep, comprising everything from intelligence to creativity to time preference to spirituality to artistic sensitivity to criminal propensities and much, much more — all of which are inscribed in our gene-patterns. But that kind of truthful talk makes them uncomfortable, to say the least. They are primitive, surface thinkers — so they stick to the surface so they can spoon-feed their troops: It’s color and color alone that matters. Now we know what all that cacophony about the white picket fences is all about.

This state-funded project goes on to say that it will show how Norway, although not a conventional colonial power has nevertheless played a globally leading role in establishing white as a superior color.

Good for the Norwegians, I say.

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These Norwegian geniuses, in their zeal to please their masters, have blown the cover off white paint. No really, literal pails of white paint. You know, the kind you go the local hardware store to purchase when you want to upgrade the picket fence to a blindingly pure white. And you most certainly don’t have that crew of Brown invaders do the work off the books. You and your sons do it yourself. It’s so bright white that Mestizos go snow-blind just thinking about it. But if you do, you can be sure you are going to have some Norwegian church lady dressed up like an extra-foppish Oscar Wilde breathing down your neck. She thinks you are “racist” and need to be dealt with in no uncertain terms.

The research project will study the Norwegian innovations in the chemical compound titanium dioxide (TiO2) and the white pigment titanium white in a historical, aesthetic, and critical lens – focusing on how the innovations transformed surfaces in art, architecture, and design – in order to show how aesthetic – and thereby societal – transformation is driven by technological development.

No, really. They literally have a million-dollar budget for this garbage. So you can see why that biddy was able to afford the floppy hat that makes her look so ridiculous. Story is, some Norwegian men who were actual geniuses perfected a new chemical process — those White men are endlessly inventive, are they not? — and thereby brought real beauty to the world. The super-white paint they created turned out to be wildly popular across the globe, and why not? Who doesn’t find a pure, immaculate, and unalloyed white infinitely appealing? But the beautiful and the pure scares the bejesus out of our enemies. They see an unblemished shade of of white, a whiter shade of white, and their communist radar gets pinged so often it sounds like the sound of locusts swarming. They know what it means. It’s not just a color, not just something which is aesthetically pleasing; Hell no, it’s not. It’s the backdrop to an out-of-control berserker Hitlerite fever dream, and the white that will be on our houses and fences and walls will cause the White man to rejuvenate his pride and once more take his rightful place on the planet. And nothing frightens them more than that prospect. You might say it’s only paint — but they know better than that.

It’s true that the origins of modern, white paint are Norwegian. As the authors say, the process of making white paint with a far better coverage than previously obtained was invented in 1916 by two Norwegian chemists, Dr Peder Farup and Dr Gustav Jebsen.

You’d think that all current-day Norwegians would be proud of this pair; two great chemists came up with something which adorns the world for the better; made a lasting contribution which has spread round the word; but if you think there’s an ounce of pride in these subservient nutcase academics you’d be thinking wrong. If Farup and Jebsen had come up with a shade of brown or yellow — or certainly black — why then they’d be fine according to these termites. But they came up with white. And, you see, Norwegians are White. And, they say, not only is that no coincidence, it’s evil incarnate as well.

The primary research question is: What are the cultural and aesthetic changes instigated by titanium white and TiO2 surfaces – and how can both the material in itself and these changes be conceptualized and made visible?

Sorry, that’s not a research question, primary or otherwise. It’s a crock and an embarrassment. Just for the record, they are talking about white paint and how it leads to “White supremacy” and “subjugation” of the colored races. They really have nothing else to say; all the rest is empty verbiage unworthy of ChatGPT at its worst moments. It’s not even a stretch — there is no “there” there, nothing but an empty and null set. But that won’t stop them from cashing those checks.

It was not until the Norwegian chemist Dr. Peder Farup (1875 – 1934) together with chemist and industrialist Dr. Gustav Jebsen (1861 – 1923) discovered an advanced chemical method (separating the iron and titanium in the mineral ilmenite) that the technological conditions for producing a pure white paint were engineered and made possible.

The do pull things from thin air don’t they? We learned a while back that plexiglass was “racist,” and of course milk was “racist,” and now white paint is “racist.” You take your house and paint it a pure uncompromising white and you might as well be burning crosses on your neighbor’s lawn. We found out a while back that the idea that Greek and Roman statuary was white was totally racist, the Jew Donna Zuckerberg told us so. They were not white at all, she said, but were painted in all the gaudy colors of the gay rainbow, so much so that that one of Augustus made him look like a transvestite hailing a taxi.

It’s clear that the vermin have white on the brain. There’s probably white under every bed.

From white walls to systemic spread: today TiO2 circulates extensively through our material, biological, and economic systems, most of the time completely unnoticeable. The inorganic compound hides in the food we eat, the paper we print on, the paint on the wall, as well as in concrete coatings, in synthetic textiles, tattoos, make-up, sunscreens, and in endless amounts of white plastic products. Currently the Norwegian innovation TiO2 is present in literally every part of modern life.

​So here’s the big reveal: like the invisible knapsack, the main constituent of the white paint is everywhere but most can’t see it. Just like the “institutional racism” or the “systemic racism.” It is everywhere; it is “hegemonic”; it is vaporous but all-encompassing — but is craftily concealed by the White man so his crimes go unnoticed. The white paint, like “whiteness” itself, saturates the world like an unseen virus — the deadly disease is always there, no matter where you are. Norway is the home of Whiteness itself, it has the tundra and the arctic and the White people — and now the white paint. (I picture the Jews sitting around daily asking themselves, What can we get away with next?)

By weaving together historical, critical, aesthetic, and artistic methods with public engagement and outreach, NorWhite reveals a complex and challenging story of how a local Norwegian innovation came to have planetary consequences. The overall objective of NorWhite is to critically and visually investigate the cultural and aesthetic preconditions of a complex and unexplored part of Norwegian technology and innovation history that has — as this project claims — made the world white.

Everyone knows that Whiteness is the quintessence of excellence, the apotheosis of beauty, the epitome of all that is right and good. What made the world white was White people, who, forged by the harshness of Nature, flung and spread themselves over the world without cease or let for millennia and so conquered — and created — the world. Far from being matter of shame or regret, or something to “cope with,” Whiteness is a mark of distinction and pride that is known the world over. So, whether it’s a wall or a house or a picket fence, everywhere and always, always and everywhere, do one thing and do it without cease or let: Paint it white.

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