The only question I have is who do you think is actually coordinating/manipulating these kinds of movements? Or do you believe these are simply manifestations of organic sociological phenomena spawned by crazy intellectual debates?
The very organized and constant media amplification of very specific messages makes the latter sound like a pretty tenuous claim. Without the media amplification, we wouldn’t be having any of the debates we’re having, or they would be of a fundamentally different nature.
So who do you think is organizing and manipulating these debates and movements?
In the Frances Stonor Saunders book “The CIA and the World of Arts and Letters: The Cultural Cold War,” Saunders paints a very detailed picture of how involved the CIA and intel establishment was in the promotion of culture, aesthetic debates and the arts in the post war period. From Salon, The Paris Review, Encounter Magazine, and many many more, most of the major culture and art publications were in some way propaganda organs for the intel establishment’s ostensible fight against communism.
Ben Norton went through a good deal of this in his Moderate Rebels podcast a while back, “ How the CIA cultivates a fake left: From the cultural cold war to intersectional imperialism”:
Those intellectuals and artists whose ideas were seen as useful for promoting a Cold War Capitalism vs. Communism narrative were funded, given a platform, published, brought to international art exhibitions etc…
This cultural warfare operation was coordinated using dozens of private family foundations, publishers and all sorts of corporate tools who were all to willing to be collaborators with the CIA.
The point is that very little of what we know as modern entertainment or contemporary culture is really organic at all. And there is plenty of evidence to suggest that today a lot of these operations are focussed on Hollywood, Netflix, Amazon Prime and the whole entertainment industry.
There are very specific narratives and messages being churned out through all these films and series which people “binge watch.”
My contention is that the same way Modernism and related intellectuals were promoted through covert intel operations (often without the artist or intellectual’s knowledge) back then, so too are much of the CRT and related useful idiots either witting or unwitting tools. The ideas are crazy, but the way the manner and sped with which they have managed to penetrate the boardrooms of the largest corporations, most established educational institutions, and corridors of government power indicates something very coordinated and sophisticated. It’s definitely not something that the Di Angelos and Kendi’s of the world would know how to coordinate and organize. People should play less mins to the ideas as such and more attention to how they are actually spread and coordinated.
Those who run psychological warfare at the top understand very well that if they are to remake America and the rest of the Western countries into the image of their brave new world, they have to erase history, they have to change how people see themselves and the narratives they live their lives by.
Film, television, literature are all seen as key battle grounds for advancing these kinds of agendas.
Culture, history, and art are all understood as key aspects that shape human identity on a societal and civilizations level. If you want to change how people think and act on a fundamental level, change their art, change their culture, rewrite their history. Then you won’t have to tell them what to do or what to think.
This isn’t new. This has been going on for decades. There is no reason to believe any of these kinds of mass culture psyops, going back to MK-Uktra stuff, ever stopped.
The current world of culture and entertainment suggests that all these operations have continued to this very day, and only intensified.
This CIA/Cultural Arts shit was well-documented more than 50 years ago when people drove Ford Pintos and prepared cheese fondue for dinner. And is about as intellectually scintillating and politically alarming as 15 minutes of illegal backyard 4th-of-July fireworks. Spooks pushing Rothko and Rauschenberg on Latvian peasants is cute, but hardly breaking news. How about something fresh? You bloviated on this same theme in the same manner a few weeks ago. We all gave you a passing grade on that essay so let's try something new. Also, your persistent linking to your buddy Ehret's site constitutes excessive logrolling. Demerit issued. If it happens again, I'm afraid we'll have to ask you to pound the chalk out of the erasers on the brick wall outside on the playground.
The only question I have is who do you think is actually coordinating/manipulating these kinds of movements? Or do you believe these are simply manifestations of organic sociological phenomena spawned by crazy intellectual debates?
The very organized and constant media amplification of very specific messages makes the latter sound like a pretty tenuous claim. Without the media amplification, we wouldn’t be having any of the debates we’re having, or they would be of a fundamentally different nature.
So who do you think is organizing and manipulating these debates and movements?
In the Frances Stonor Saunders book “The CIA and the World of Arts and Letters: The Cultural Cold War,” Saunders paints a very detailed picture of how involved the CIA and intel establishment was in the promotion of culture, aesthetic debates and the arts in the post war period. From Salon, The Paris Review, Encounter Magazine, and many many more, most of the major culture and art publications were in some way propaganda organs for the intel establishment’s ostensible fight against communism.
Ben Norton went through a good deal of this in his Moderate Rebels podcast a while back, “ How the CIA cultivates a fake left: From the cultural cold war to intersectional imperialism”:
https://m.youtube.com/watch?v=rMap-6KxQJI
Those intellectuals and artists whose ideas were seen as useful for promoting a Cold War Capitalism vs. Communism narrative were funded, given a platform, published, brought to international art exhibitions etc…
This cultural warfare operation was coordinated using dozens of private family foundations, publishers and all sorts of corporate tools who were all to willing to be collaborators with the CIA.
The point is that very little of what we know as modern entertainment or contemporary culture is really organic at all. And there is plenty of evidence to suggest that today a lot of these operations are focussed on Hollywood, Netflix, Amazon Prime and the whole entertainment industry.
There are very specific narratives and messages being churned out through all these films and series which people “binge watch.”
My contention is that the same way Modernism and related intellectuals were promoted through covert intel operations (often without the artist or intellectual’s knowledge) back then, so too are much of the CRT and related useful idiots either witting or unwitting tools. The ideas are crazy, but the way the manner and sped with which they have managed to penetrate the boardrooms of the largest corporations, most established educational institutions, and corridors of government power indicates something very coordinated and sophisticated. It’s definitely not something that the Di Angelos and Kendi’s of the world would know how to coordinate and organize. People should play less mins to the ideas as such and more attention to how they are actually spread and coordinated.
Those who run psychological warfare at the top understand very well that if they are to remake America and the rest of the Western countries into the image of their brave new world, they have to erase history, they have to change how people see themselves and the narratives they live their lives by.
Film, television, literature are all seen as key battle grounds for advancing these kinds of agendas.
Culture, history, and art are all understood as key aspects that shape human identity on a societal and civilizations level. If you want to change how people think and act on a fundamental level, change their art, change their culture, rewrite their history. Then you won’t have to tell them what to do or what to think.
This isn’t new. This has been going on for decades. There is no reason to believe any of these kinds of mass culture psyops, going back to MK-Uktra stuff, ever stopped.
The current world of culture and entertainment suggests that all these operations have continued to this very day, and only intensified.
This CIA/Cultural Arts shit was well-documented more than 50 years ago when people drove Ford Pintos and prepared cheese fondue for dinner. And is about as intellectually scintillating and politically alarming as 15 minutes of illegal backyard 4th-of-July fireworks. Spooks pushing Rothko and Rauschenberg on Latvian peasants is cute, but hardly breaking news. How about something fresh? You bloviated on this same theme in the same manner a few weeks ago. We all gave you a passing grade on that essay so let's try something new. Also, your persistent linking to your buddy Ehret's site constitutes excessive logrolling. Demerit issued. If it happens again, I'm afraid we'll have to ask you to pound the chalk out of the erasers on the brick wall outside on the playground.
I suggest that the first thing you do is change their language ....
Ha! Spiked magazine! Now we know where the Coronavirus came from! :D