Was Modern Art Really a CIA Psy-Op? By: Lucie Levine April 1, 2020, (https:/daily.jstor.org)
It’s an emerald city expose’, pulling back the curtain to reveal the Rockefeller clan busy turning the rest of humanity into their chicken farm, and then this virus comes along. Suddenly our social evolution is being ‘punctuated,’ and a different system of values will emerge when this is over. The tectonic constraint of top-down social control was about to release on its own, politics had become dysfunctional and the people were being impoverished by predatory creditors, functional illiteracy and such, when along comes this gigantic jolt. Let’s consider one possible outcome.
This article chronicles the cold war shenanigans of ultra elitist CIA wizards dueling for the psychological soul of post-war Europe in the high court of mass consciousness, you can read it for yourself and it’s nothing new. After the war, when confronted with Russia's old world culture, their bolshoi, their literature, their music, all such as that, these guys needed something to say back and they chose art. They used a lot of taxpayer money to promote an art, abstract expressionism, around the world so stupefyingly individualistic that it didn’t say anything, all meaning privatized and sucked back into the the inscrutable essence of the artist. This article notes that they were getting good reviews in foreign places, but of course they paid for those too.
So that’s their excuse. They subverted american culture for the sake of world supremacy and we’re all better for it, so quit your whining. Still I think it’s just a cover for their actual motive all along. The rich guys' real fear was an awakening class consciousness, since the mighty red army had no consumers back home to finance their war machine, so only a matter of time. Extreme wealth here was more frightened by the mexican muralists, stitching together a fractured society in Mexico and uniting and inflaming poor people north of the border, making the case for social justice plainly visible even to the unlettered. Under cover of competition against a fundamentally disadvantaged economic structure, they made art mute, tore out its tongue, and haven’t been troubled by it since. These days art’s their clawless plaything in a gilded cage, an ultra-expensive exotic for their trophy tussles and bragging rights, sadly a passed-around whore.
Behind it all, what they really wanted was to shut down and eliminate the possibility of empathetic communication among the general population, so they sponsored an art no person familiar with honest effort and real accomplishment would want. At the same time, they began undermining and discrediting figurative art of any sort, a massive campaign by all art-related government agencies, in a covertly influenced media and including university art schools. ‘I have more important things to do with my time than to go around copying nature’ became a standard academic refrain for several decades. The secret orders from on high were to sabotage visual art so we can tell them what to think, indenture their futures and live off their aspirations to find some meaning in existence and to connect with each other -- clever, but it couldn't last forever.
Figurative art is about seeing the world and presenting a vision of it on a flat surface, and within the interpretation suggesting points in common with the viewer, perhaps evoking some thought or feeling never considered or one too personal and private to share. In any case the super-rich don’t like it, and would prefer to limit our mental world to demeaning sitcoms and violent cop shows so they can sell us trucks no one needs but seem to want anyway, who knows why? How to get out of it is the same way we got into it. In your hometown look at enough art to decide what you truly admire, and it won’t be difficult if you first disregard everything they’ve ever told you. Sooner or later you'll pay the artist and take something home. Whatever the ultra wealthy don’t want you to have is there.
It’s an emerald city expose’, pulling back the curtain to reveal the Rockefeller clan busy turning the rest of humanity into their chicken farm, and then this virus comes along. Suddenly our social evolution is being ‘punctuated,’ and a different system of values will emerge when this is over. The tectonic constraint of top-down social control was about to release on its own, politics had become dysfunctional and the people were being impoverished by predatory creditors, functional illiteracy and such, when along comes this gigantic jolt. Let’s consider one possible outcome.
This article chronicles the cold war shenanigans of ultra elitist CIA wizards dueling for the psychological soul of post-war Europe in the high court of mass consciousness, you can read it for yourself and it’s nothing new. After the war, when confronted with Russia's old world culture, their bolshoi, their literature, their music, all such as that, these guys needed something to say back and they chose art. They used a lot of taxpayer money to promote an art, abstract expressionism, around the world so stupefyingly individualistic that it didn’t say anything, all meaning privatized and sucked back into the the inscrutable essence of the artist. This article notes that they were getting good reviews in foreign places, but of course they paid for those too.
So that’s their excuse. They subverted american culture for the sake of world supremacy and we’re all better for it, so quit your whining. Still I think it’s just a cover for their actual motive all along. The rich guys' real fear was an awakening class consciousness, since the mighty red army had no consumers back home to finance their war machine, so only a matter of time. Extreme wealth here was more frightened by the mexican muralists, stitching together a fractured society in Mexico and uniting and inflaming poor people north of the border, making the case for social justice plainly visible even to the unlettered. Under cover of competition against a fundamentally disadvantaged economic structure, they made art mute, tore out its tongue, and haven’t been troubled by it since. These days art’s their clawless plaything in a gilded cage, an ultra-expensive exotic for their trophy tussles and bragging rights, sadly a passed-around whore.
Behind it all, what they really wanted was to shut down and eliminate the possibility of empathetic communication among the general population, so they sponsored an art no person familiar with honest effort and real accomplishment would want. At the same time, they began undermining and discrediting figurative art of any sort, a massive campaign by all art-related government agencies, in a covertly influenced media and including university art schools. ‘I have more important things to do with my time than to go around copying nature’ became a standard academic refrain for several decades. The secret orders from on high were to sabotage visual art so we can tell them what to think, indenture their futures and live off their aspirations to find some meaning in existence and to connect with each other -- clever, but it couldn't last forever.
Figurative art is about seeing the world and presenting a vision of it on a flat surface, and within the interpretation suggesting points in common with the viewer, perhaps evoking some thought or feeling never considered or one too personal and private to share. In any case the super-rich don’t like it, and would prefer to limit our mental world to demeaning sitcoms and violent cop shows so they can sell us trucks no one needs but seem to want anyway, who knows why? How to get out of it is the same way we got into it. In your hometown look at enough art to decide what you truly admire, and it won’t be difficult if you first disregard everything they’ve ever told you. Sooner or later you'll pay the artist and take something home. Whatever the ultra wealthy don’t want you to have is there.
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