Imagine wanting to dominate and control millions of healthy, proactive, independent, and freedom-loving people who are protected under the law from nefarious actors. However, direct force cannot be used to control them. Instead, a game plan is needed that works like a Trojan Horse, sneaking covert agents and ideas into their culture under the guise of a good-natured gift.
The plan cannot be obvious due to legal protections, so a campaign must be created that is inviting and exciting enough to inspire voluntary participation. Ideally, many people would become unwitting cheerleaders or agents actively working on the agenda without realizing it.
To gain their trust, the concept of freedom would be an excellent cover. Most people believe in freedom, but it can be interpreted in opposite ways, such as anti-slavery or getting away with nefarious acts without repercussions.
Once ingratiated into the culture and trust is gained, the meat of the evil plan can be executed. One effective way to do this is to create a cultural environment that gets people to question their own perception of reality. If achieved, this would allow for manipulation without resistance. One of the greatest psychological supports for human confidence in their perceptions of reality is great figurative and representational art. For the evil plan to work, representational art has to be removed from contemporary recognition in museums and higher learning institutions. A fact that has been going on for 70 years.
One of the greatest tools to undermine millions of people and the healing power of representational art is to embed postmodern art, the Trojan Horse, into education, corporate conference rooms, museums, and mental health treatments, i.e., culture. Postmodern art is essentially an anti-art, anti-human, and anti-perception phenomenon. Cleverly, it can be and has been promoted under the guise of freedom. But since it has zero foundations in human perception, it acts like a virus, encouraging people to question their own perceptions of reality. If accomplished, it then renders the victim unable to recognize and resist the manipulator’s tactics. It also accomplishes another wicked thing: good people that have confidence in their perception of reality will simply stop turning to art for their emotional-intellectual-sensory well-being, for all intents and purposes cutting them off from the very thing – great art – that fortifies their entire being.
To counter this evil PsyOp, brilliant figurative and representational art is a compelling and powerful antidote. It celebrates freedom gained by mastery of the medium and exemplifies the greatness of our perception of reality. Living with great art uplifts and fortifies the soul to withstand everything evil actors throw at us.
Michael Newberry, Idyllwild, February 27, 2023.
Frame of References:
Dasal, Jennifer. “How MoMA and the CIA Conspired to Use Unwitting Artists to Promote American Propaganda During the Cold War.” September 24, 2020.
Levine, Lucie. “Was Modern Art Really a CIA Psy-Op?” JSTOR Daily, April 1, 2020.
Saunders, Frances. 2000. The Cultural Cold War: The CIA and the World of Arts and Letters. An absolute must read for everyone interested in art, art movements, political history, the deep state, the methods of America’s intelligence services, or black PsyOp. https://www.amazon.com/Cultural-Cold-War-World-Letters/dp/1595589147/ref=sr_1_1?keywords=frances+saunders&qid=1639716921&sr=8-1
Saunders, Frances. “Modern Art Was a CIA Weapon.” Independent, October 22, 1995.
Sexton, Anna. “How MoMA and the CIA Conspired to Use Unwitting Artists to Promote American Propaganda During the Cold War.” February 21, 2021
Troy, Jr, Thomas M. 2002. CIA historian on CIA’s site: Review of Frances Saunders’s The Cultural Cold War: The CIA and the World of Arts and Letters. PDF. https://www.cia.gov/static/79f632b1778cb8189328b7f9c4682bf3/The-Cultural-Cold-War.pdf
Newberry, Michael. “CIA Weaponizing Abstract Art and Its Fallout.” January31, 2021.
Newberry, Michael. “The Cult of Oblivion: CIA, Abstract Expressionists, and Kant.” October 8, 2019.
Michael Newberry 