I came across a bizarre story out of that nightmare world called "Nazi Germany." It struck some interesting notes about creating living art, death art, dehumanizing people while elevating puppets to admiration and love. Also sanitizing sex by removing women entirely and replacing them with dead objects. The psychology of this is very strong. One sees it all the time.
Die erste "Gynoide" oder Sexpuppe der Welt entstand 1941 am Deutschen Hygiene-Institut Dresden unter Leitung des berühmten Kunststofftechnikers und Präparators Franz Tschakert - Der Vater der Gläsernen Frau, der 1930 auf der II. Internationalen Hygiene-Ausstellung mit seiner Kreation großes Aufsehen erregte, stellte sein Wissen und fachliches Können ab 1941 auch in den Dienst der SS.
Das "feldhygienische Projekt " ging auf eine Initiative von Reichführer SS Heinrich Himmler zurück, der in der Puppe ein Instrument zur "Triebregulierung des Landsers" sah. In einem Schreiben vom 20.11.1940 erwähnt der Reichsführer die "unnötigen Ausfälle" , die das deutsche Heer durch die Prostitution in Frankreich erlitten hatte:
"Die größte Gefahr in Paris bilden die wilden Dirnen, die ihr dunkles Gewerbe auf der Straße und in den Cafés, Restaurants, Bars und Vergnügungsstellen ausüben. Es ist unsere Aufgabe den Soldaten die Triebabfuhr zu erleichtern."
Das Projekt zunächst "Burghild" genannt trug den Stempel des RSDs"Geheime Reichssache" und unterstand dem Obersten Hygieniker Dr. Joachim Mrurgowsky persönlich. Alle Mitarbeiter - auch Tschakert - waren zu strengster Geheimhaltung verpflichtet.
The world’s first sexdoll – or ”gynoid” – was built in 1941 by a team of craftsmen from Germanys Hygiene Museum Dresden. The project was supervised by the famous preparator and technician Franz Tschakert. The ”Father of the woman of glass”, which happened to be the sensation in 1930’s II. International Hygiene-Exhibit, used his skills and experience in order to create a kind of doll the world had never seen before.
The ”field-hygienic project” was an initiative of Reichsführer SS Heinrich Himmler, who regarded the doll as an ” counterbalance” (or regulating effect )for the sexual drive of his stormtropers. In one his letters, dated 20.11.1940 he mentions the ”unnessessary losses”, the Wehrmacht had suffered in France inflicted by street prostitutes.
”The greatest danger in Paris are the wide-spread and uncontrolled whores, picking by clients in bars, dancehalls and other places . It is our duty to prevent soldiers from risking their health, just for the sake of a quick adventure.”
The project – called Burghild in the first place – was considered ”Geheime Reichssache” , which was ”more secret than top secret” at the time. Himmler put his commander-in-chief SS-Dr. Joachim Mrurgowsky in charge, the highest ranking officer of Berlins notorious SS-institute.
The Nazis did many odd things. It was as if all the dark dreamscape explored by Dr. Freud was brought into creation. The Nazis were a death cult. Just like any group of people who worship the Devil that is Death like the Skull and Bones students do at Yale, when they had no power, nobody really cared. But when they got power, people die, lots and lots of people.
Just like today, I learn the Germans hid paperwork that tracked every single slave and slain human during the blut fest, they hid this purposefully, to protect rich people, it set my mind into reexploring the twisted world of the Nazis.
This doll, for example, shows clearly how mental illness can twist the ability to appreciate living, breathing lifeforms. Instead of loving and appreciating that which Nature has wrought, people instead are attracted to ugly, deformed emnations like Barbie dolls, for example.
The Nazis wanted not only a perfect superman and superwoman, they wanted one that had no life to it but rather, a cartoon reproduction. So of course, to cut down the interactions of the SS with the slave populations, to sanitize sex and dehumanize the killers even more, the Nazi researchers tried to create out of clay, so to speak, a sex doll that wouldn't distract the future supermen from impregnating their wives by causing excessive attachment.
Click on picture to enlarge
From Franz Tschakert
The committee that created several model dolls tried to reproduce Olypmic champions. Only the dolls looked ugly so they patched together the "perfect" doll. They decided this doll had to be athletic, skinny but with big breasts and a frowning face, oddly enough.
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This ideal but heartless doll reigns supreme today. She is in many video games as well as the infamous Barbie Dolls by Mattel. The Nazis wanted a lust doll that would be simultaneously unlovable.
Namely, no affection radiating from the face. Hyperbig tits and lips. Little else, the arms reduced to sticks and the legs very long.
Comparing this to Greek statues of Venus and one can see, they are not the same. The torso of the best Aphroditian statues ripple with life. This is because the artists were celebrating sex not denaturating it. They wanted to inspire feelings of love not cold sexual fury.
(Clara, a living, real woman, is trying to get her love to throw out vile poetry he wrote to a doll) At last, when he had concluded, he groaned in a state of utter exhaustion and, catching Clara's hand, sighed forth, as if melted into the most inconsolable grief: 'Oh Clara! - Clara!' Clara pressed him gently to her bosom, and said softly, but very solemnly and sincerely: 'Nathaniel, dearest Nathaniel, do throw that mad, senseless, insane stuff into the fire!'
Upon this Nathaniel sprang up enraged and, thrusting Clara from him, cried: 'Oh, inanimate, accursed automaton!'
With which he ran off; Clara, deeply offended, shed bitter tears, and sobbed aloud: 'Ah, he has never loved me, for he does not understand me.'
The man in the story, even after understanding that Olympia is a doll and not alive, still falls for her and goes insane and tries to kill his lover by throwing her out of a tower window.
This story was written the same dark, wet year of 1816 when Mt. Tamboura blew up and shrouded the earth in darkness. This is the same year another superman/monster story was concieved by Mary Wollenstone Shelley, "Frankenstein." Indeed, this, too, is a metaphor for the Nazis. They needed soldiers filled with inhuman desire to passionlessly kill inferior humans and to not cleave to anyone by showing even faint sympathy.
The miltiary works hard to instill a love of flag, Fuehrer and comrades as well as death. But not to feel love or sympathy with anyone else. This madness is drilled into the soldier until they can't tell the jointed doll from the living human.
Just this week, a soldier goes on trial within the military because he came home from Iraq and within days, stabbed his 18 year old wife 71 times in the kitchen while playing extremely loud heavy metal neonazi music to drown out her screams.
Just like in the Hoffman story where the young man goes mad and tries to kill his loving sweetheart.
Based on E.T.A. Hoffman's tale, Der Sandmann, but with all the sinister overtones of the original removed, Nuitter's scenario was a near-perfect example of ballet construction.
It was first performed at the Paris Opéra on May 25 1870, before a brilliant audience that included Napoleon III and the Empress Eugénie in the Imperial box. It was an immediate success, both for the ballet and its authors and for its young star. The progress of this early performances was interrupted by the outbreak of the Franco-German War in July and in the succeeding months the triumph was overclouded by tragedy. Saint-Léon died of a heart attack in September and little Bozzacchi fell victim of smallpox during the Siege of Paris.
The German invasion of France killed the young ballerina who pretended to be a doll. And this sad story had to be repeated over and over again, each time with more lethal weapons and greater fury. One fears it will play out with supreme horror yet again, acted out by heartless, angry, sexually and financially frustrated young men, egged on by madmen lusting for power, praying to the Devil that is Death.