Microsoft is the company that funds Mark of the Beast digital identification company ID2020, and now they are promoting New Age witch Marina Abramovic who is best known for the satanic practice of spirit cooking. Is this really someone you would want to enter into holographic mixed reality with?
I suppose you can get away with just about anything if you call yourself a ‘performance artist’ instead of what you actually are, in this case we are talking about a High Priestess of modern-day Satanism, Marina Abramovic.
She is a wicked woman whose ‘performance art‘ usually revolves around snakes, pig’s blood, images of Baphomet, [pebtagrams] and all the rest of that garbage. But nothing to see her, people, Marina is just an ‘edgy performance artist’, that’s all. Yeah, right.
“And he caused his children to pass through the fire in the valley of the son of Hinnom: also he observed times, and used enchantments, and used witchcraft, and dealt with a familiar spirit, and with wizards: he wrought much evil in the sight of the LORD, to provoke him to anger.” 2 Chronicles 33:6 (KJB)
Take a look at an article published by the UCLA Center for European and Russian Studies back in 2018, where they calmly and rationally discussed the rise importance of witchcraft in Hollywood. It’s not simply enlightening, it’s a stunning eye-opener, and of course we see Marina Abramovic featured prominently in it.
“We seem to be living in bewitched times. Witches are everywhere, or rather: victims of alleged witch hunts pop up all over the place, preferable on Twitter or other social media outlets. Pop-stars perform as witches, like Katy Perry in her performance at the 2014 Grammy awards, where she appeared in a cowl before a crystal ball, while later dancing with broomsticks as poles.
“Beyoncé’s visual album “Lemonade” (2016) made several explicit references to black witchcraft rituals. Azealia Banks proclaimed on Twitter that she practiced “three years’ worth of brujería” (witchcraft) and tweeted, while cleaning the blood-smeared room used for her animal sacrifices, “Real witches do real things” (2016).
But do your own research, we have done ours and are satisfied that Marina Abramovic is exactly who we think she is, a New Age witch who hides behind performance art to promote Satanism, witchcraft, and all the rest of her demonic nonsense. So with that, let’s take a look at what Microsoft, the same company who is funding ID2020, is doing with Abramovic. Of course, me writing all these words are actually completely unnecessary, because when you watch the promotional video Microsoft has produced to promote her, it’s lights out and case closed.
Now if you have half a brain, after everything we present to you here, the last place you want to be is in a virtual world with a New Age witch known for satanism, gore and cannibalism. But this is where evil end times company Microsoft wants to take you, don’t go.
Performance Artist Marina Abramovic Breaks New Ground—In Mixed Reality
FROM MICROSOFT: Marina Abramovic is likely the most acclaimed performance artist living today. Known for risky performances that push the limits of human endurance, it’s difficult to overstate her importance within the art world and pop culture at large.
So on Good Friday Bill Gates’ new Microsoft ad dropped featuring prominent satanist Marina Abramovic who makes “art” out of blood, gore and cannibalism. #SpiritCooking
From the 1970s through to the present, she has created dozens of incredibly impactful works that explore themes of courage, ego, endurance, and spirituality. In 2010, her iconic work The Artist Is Present, was the biggest exhibition at New York City’s MoMA ever. In the piece, she sat still for eight hours, every day, for nearly three months, sustaining eye contact with whomever sat across from her.
“Any medium—visual, aural, even material—is really just a conduit for the energy of the artist to reach the understanding of the audience. In mixed reality we’ve achieved the first medium capable of presenting a recorded performance as an event happening now,” says Todd.
“The artist is forever, in this case, which changes the very nature of what the conduit means. But for the audience with The Life, it’s my hope that they never think about such things. Instead I want them to walk away feeling like they were just in the room with Marina.”
Ahh, the beauty of ‘performance art’
Marina’s most recent piece, The Life, further solidifies her unconventional and innovative approach to performance art—it’s her first artwork to harness mixed reality. Brought to life with the HoloLens 2, the 19-minute performance follows Abramović, whose phantom-like virtual image appears in a vibrant red dress as she explores the space and its borders. Viewers become mesmerized by her mindful movements, her virtual image dissolving as she interacts with the installation’s borders.
For the first time, viewers are able to experience performance art without boundaries—and without the artist technically being “present.” As soon as they don the HoloLens 2 headset, Abramović’s fully realized form takes shape before their eyes. READ MORE
If a picture says a thousand words, how many words is this video telling you? Watch and find out. But at the very least you will instantly see why we call her a New Age witch and a satanist, oops, sorry, performance artist.
“Western culture today consists of pornography, sexual deviants, whining wimps devastated by mere words, self-hatred, and craven cowards afraid to stand up for themselves against the onslaught of hate directed toward them by political correctness freaks.”
As Karl Marx said, “The philosophers have only interpreted the world in various ways. The point, however, is to change it.”
It is amazing the power that politically correct kooks have acquired over language, art, and literature. It is a sign that the West is culturally dead.
When high museums rename paintings because some emotional weakling declares the name to be offensive, it becomes obvious that the custodians of Western culture have lost their belief in Western culture.
When universities cover up murals because of a claim they are offensive to people whose presence on the campus is minuscule if present at all, you know that learning is no longer the purpose of the university.
When people are afraid to use the words and terms of their forefathers, you know they have been intimidated to abandon even their own language and ways of speaking.
Western culture today consists of pornography, sexual deviants, whining wimps devastated by mere words, self-hatred, and craven cowards afraid to stand up for themselves against the onslaught of hate directed toward them by political correctness freaks.
The political correctness people are the most alienated and emotionally weak element in society.Yet they dominate in the media, entertainment, universities, and art world.How is it possible that the Washingtonians are prepared to take us to war with real people—Russians, Chinese and North Koreans—two countries that have already whipped us once—and Persians, an ancient race that even the Romans had a hard time with?Do the fools in Washington really think that our homosexualized, feminized, transgenderized military can take on Russians, Chinese, and Persians?Hollywood can make all the movies it wants with female superheroes, but superheroes are the last thing whining American feminists are.
The real questions for the politically correct crowd are: (1) why isn’t war politically incorrect, and (2) why isn’t it politically incorrect for the politically correct arbiters of language to call the rest of us names? The real racists in America are those who call white people racist.
What Your Sons and Daughters Will Learn at University
By Philip Carl Salzman
Universities in the 20th century were dedicated to the advancement of knowledge. Scholarship and research were pursued, and diverse opinions were exchanged and argued in the “marketplace of ideas.”
This is no longer the case. Particularly in the social sciences, humanities, education, social work, and law, a single political ideology has replaced scholarship and research, because the ideology presents fixed answers to all questions. And, although the most important thing in universities today is the diversity of race, gender, sexual practice, ethnicity, economic class, and physical and mental capability, there is no longer diversity of opinion. Only those committed to the ideology are admitted to academic staff or administration.
Universities have been transformed by the near-universal adoption of three interrelated theories: postmodernism, postcolonialism, and social justice. These theories and their implications will be explored here.
There Is No Truth; Nothing Is Good or Bad
Postmodernism: In the past, academics were trained to seek truth. Today, academics deny that there is such a thing as objective Truth. Instead, they argue that no one can be objective, that everyone is inevitably subjective, and consequently everyone has their own truth. The correct point of view, they urge, is relativism. This means not only that truth is relative to the subjectivity of each individual, but also that ethics and morality are relative to the individual and the culture, so there is no such thing as Good and Evil, or even Right and Wrong. So too with the ways of knowing; your children will learn that there is no objective basis for preferring chemistry over alchemy, astronomy over astrology, or medical doctors over witch doctors. They will learn that facts do not exist; only interpretations do.
All Cultures Are Equally Good; Diversity Is Our Strength
Our social understanding has also been transformed by postmodern relativism. Because moral and ethical principles are deemed to be no more than the collective subjectivity of our culture, it is now regarded as inappropriate to judge the principles and actions of other cultures. This doctrine is called “cultural relativism.” For example, while racism is held to be the highest sin in the West, and slavery the greatest of our historical sins, your children will learn that we are not allowed to criticize contemporary racism and slavery in Africa, the Middle East, and the equivalents in South Asia.
The political manifestation of cultural relativism is multiculturalism, an incoherent concept that projects the integration of multiple incompatible cultures. Diversity is lauded as a virtue in itself. Imagine a country with fifty different languages, each derived from a different culture. That would not be a society, but a tower of babble. How would it work if there were multiple codes of law requiring and forbidding contrary behaviors: driving on the left and driving on the right; monogamy and polygamy; male dominance and gender equality; arranged marriage and individual choice? Your children will learn that our culture is nothing special and that other cultures are awesome.
The West Is Evil; The Rest Are Virtuous
Postcolonialism, the dominant theory in the social sciences today, is inspired by the Marxist-Leninist theory of imperialism, in which the conflict between the capitalist and proletariat classes is allegedly exported to the exploitation of colonized countries. By this means, the theory goes, oppression and poverty take place in colonies instead of in relation to the metropolitan working class. Postcolonialism posits that all of the problems in societies around the world today are the result of the relatively short Western imperial dominance and colonization. For example, British imperialism is blamed for what are in fact indigenous cultures, such as the South Asian caste system and the African tribal system. So too, problems of backwardness and corruption in countries once, decades ago, colonies continue to be blamed on past Western imperialism. The West is thus the continuing focus on anti-imperialist and anti-colonialist sentiment. Your children will learn that our society is evil, and the cause of all the evil in the wider world.
Only the West Was Imperialist and Colonialist
This ahistorical approach of postcolonialism ignores the hundreds of empires and their colonies throughout history, as well as ignoring contemporary empires, such as the Arab Muslim Empire that conquered all of the central Middle East, North Africa, southern Europe, Persia, Central Asia, and northern India, and occupied them minimally for hundreds of years, but 1400 years in the central Middle East and North Africa, and occupy them today. China, once the Communists took power, invaded Inner Mongolia to the north, Chinese Turkestan to the west, and Tibet to the south. Once in control, the government flooded these colonies with Han Chinese, in effect ethnically cleansing them. Postcolonialists have nothing to say about any of this; they wish to condemn exclusively the West. Your children will learn to reject history and comparisons with other societies, lest the claimed unique sins of the West be challenged.
Western Imperialism Was a Racist Project
Postcolonialists like to stress the racial dimension of Western imperialism: as an illustration of racism. But postmodernists are not interested in Arab slave raiding in “black” Africa, or Ottoman slaving among the whites in the Balkans, or the North Africans slave raiding of whites in Europe, from Ireland through Italy and beyond. Your children will learn that only whites are racist.
White Men Are Evil; Women of Color Are Virtuous
Social justice theory teaches that the world is divided between oppressors and victims. Some categories of people are oppressors and other are victims: males are oppressors, and females are victims; whites are oppressors, and people of color are victims; heterosexuals are oppressors, and gays, lesbians, bisexual, etc. are victims; Christians are oppressors, and Muslims are victims. Your sons will learn that they are stigmatized by their toxic masculinity.
Individuals Are Not Important; Only Category Membership Is
Social justice theory has taken university life by storm. It is the result of the relentless working of Marxist theory, adopted by youngsters during the American cultural revolution of the 1960s, then brought to universities as many of those youngsters became college professors. Marxism as an academic theory was explicitly followed by some in the 1970s and 1980s, but it did not sweep everything else away, because the idea economic class conflict was not popular in the prosperous general North American population. The cultural Marxist innovation that brought social justice theory to dominance was the extension of class conflict from economics to gender, race, sexual practice, ethnicity, religion, and other mass categories. We see this in sociology, which is no longer defined as the study of society but has for decades been defined as the study of inequality. For social justice theory, equality is not the equality of opportunity that is the partner of merit, but rather equality of result, which ensures the members of each category at equality of representation irrespective of merit. Your sons will learn that they should “step aside” to give more space and power to females. Your daughters, if white, will learn that they must defer to members of racial minorities.
Justice Is Equal Representation According to Percentages of the Population
As there is allegedly structural discrimination against all members of victim categories, in order for equality of result to prevail, representation according to percentages of populations must be mandated in all organizations, in all books assigned or references cited, in all awards and benefits. Ideas such as merit and excellence are dismissed as white-male supremacist dog whistles; they are to be replaced by “diversity” of gender, race, sexual preference, ethnicity, economic class, religion, and so on. (Note that “diversity” does not include “diversity of opinion”; for only social justice ideology is acceptable. Any criticism or opposition is regarded as “hate speech.”) Academic committees now twist themselves into pretzels trying to explain that “diversity is excellence.”
Members of Oppressor Categories Must Be Suppressed
Of course, the requirement of representation according to population applies only one way: to members of victim classes. If whites, men, heterosexuals, Christians, etc. are underrepresented, that is fine; the fewer the better. For example, females now make up 60% of university graduates, although in the general age cohort males are 51%. There is no social justice clamoring for males to be fully represented. Members of disfavored oppressor categories are disparaged. The classics of Western civilization should be ignored because they are the work, almost exclusively, of “dead white men.” Only works of females, people of color and non-Western authors should be considered virtuous. So too in political history. The American Constitution should be discarded because its writers were slaveholders.
Victims of The World Unite!
“intersectionality” is an idea invented by a feminist law professor. It argues that some individuals fall into several victim categories, for example, black, female lesbians have three points in the victim stakes, as opposed to male members of the First Nations who receive only one point. Further, on the action front, members of each victim category are urged to unite and ally with members of other victim categories, because sharing the victim designation is the most important status in the world. This leads to some anomalies. Black victims of racism are urged to unite with Arab victims of colonialism, even though Arabs have been and still are holders of black slaves.
Being Educated Is About Being on The Right Side
As Karl Marx said, “The philosophers have only interpreted the world in various ways. The point, however, is to change it.” The objective of a university education today is to ensure that students chose “the right side” in changing the world. The idea that it probably makes sense to try to understand the world before attempting to change it, is rejected as outmoded, modernist empiricism and realism, now superseded by postmodernism and social justice. If there is no Truth, and whatever one feels or believes is one’s truth, then trying to gain an objective understanding of the world is futile.
Gunduz Aghayev is a cartoonist from Azerbaijan who isn’t afraid to raise awareness about some of the most significant issues in the world. His artwork shows modern problems like social media addiction or mindless consumption of trashy television. He can spot the underlying issues in many different areas of society…
Famous street artist Banksy has published a video, revealing how he secretly built a shredder into one of his paintings years ago and showing the moment it got ripped to shreds, after selling at auction for $1.1mn at Sotheby’s.
“The urge to destroy is also a creative urge,” wrote Banksy, citing a leading anarchist theorist of the nineteenth century, Mikhail Bakunin, but attributing the quote to the famous painter Pablo Picasso.
In his Instagram post, Banksy explained that he built the secret device and embedded it into the painting’s frame “a few years ago”, just “in case it was ever put up for auction.” Such forethought paid off Friday, when the artist’s ‘Girl with a Balloon’ fetched a record of £860,000 (£1.04mn or $1.37mn with buyer’s premium) at a Contemporary Art Evening Auction at Sotheby’s London – and got destroyed the moment the hammer dropped.
Some auction attendees on Friday seemed shocked when the painting began to self-destruct. Others were quick to take out their cell phones to record the historic moment the Girl With Red Balloon self-shredded to strips.
While Banksy failed to share how the shredder was set in motion, those who attended the Sotheby’s event noticed a strange man inside the crowd, prompting rumors that the destruction mechanism was activated by the elusive artist himself.
“We’ve just been Banksy’d,” said Alex Branczik, senior director at Sotheby’s, on Friday. “He is arguably the greatest British street artist, and tonight we saw a little piece of Banksy genius.”
Social media users found Banksy’s own heist method also to be “F**king brilliant!”, posting support messages next to his Instagram video post. “Art and humor! Love it”, “brilliant”, “You are a genius !!!!” were just some of the comments the anonymous artist received following the stunt.
The secretive icon had once made clear that he does not like his paintings to be sold to the highest bidder. A few years back he published an image on his website mocking an auction house and their clients for bidding for the framed words “I can’t believe you morons actually buy this sh*t”.
Orcas can swim up to 100 miles a day in the wild, but in Sea World these incredible whales are confined to tiny tanks, illustrated brilliantly in this sculpture by famous artist Banksy. Image Credit: Banksy
The Great Awakening (New York, USA)
We are all searching for Light in this dark world, but what we fail to realize is the Light is already within us, it simply needs to be awakened. Image Credit: Paige Bradley
Love is The Only Thing That Can Overcome Hate (Roermond, Netherlands)
In these powerful images we see the graves of a Catholic woman and her Protestant husband, who were not allowed to be buried together because of their religious backgrounds.
Life is a Journey, Not a Destination (Marseilles, France)
This brilliantly made sculpture, from French artist Bruno Catalano, depicts how we always leave pieces of ourselves behind when we travel according to the artist.
This is true on a much deeper level, because whenever we interact with others and we meet new people and go on new adventures, we give them pieces of ourselves that slightly change them forever. And likewise, they give us pieces of themselves, that slightly change us forever as well. We are all a part of a much greater whole. Image Credit: Bruno Catalano
What Are You Mentally Enslaved To? (Location Unknown)
There are many things that can enslave and imprison us in this world. In this clever sculpture/display of art, cigarettes, alcohol and a mobile phone are portrayed. Image Credit: Imgfave
Free Your Inner Child (Nevada, U.S.)
As we grow older, we often become dominated by pride, ego, fear, and irrational impulse, which then leads to drama and fighting with people we actually care about. But our inner child — trapped inside — simply wants to connect, and put aside these silly disagreements. Image Credit: Alec Kondush
Never Stop Working On Yourself (Location Unknown)
You are the architect of your life, despite difficult circumstances that may be unfair, never stop working on yourself. Ultimately, we determine the shape of our future. Image Credit: Unknown
Free Your Mind & The Rest Will Follow (Pennsylvania, USA)
Freedom only comes to those who are willing to struggle and fight for it. Image Credit: Zenos Frudakis
Judge Not… (North Carolina, U.S.)
This powerful sculpture also has a powerful story behind it, because it was placed in a wealthy neighborhood by the local church, and residents called the police concerned about what they believed was a homeless man.
The sculpture is actually a depiction of Jesus Christ, reminding people to never judge others based on what they see, because earthly appearance is not indicative of spiritual character. Image Credit: John Burnett, NPR
At the turn of the 20th century, hawkers at baseball games would sell rosters to fans, crying out to them, “You can’t tell the players without a scorecard.”
One hundred and more years later, the old-fashioned peddler is needed again, this time at concerts by classic-rock bands whose lineups often bear little resemblance to their original rosters.
Next week, the veteran arena rockers Foreigner, continuing their 40th-anniversary tour, will play to fans in Toronto, Ottawa and Kingston in configurations that count only founder Mick Jones as an original member. When asked to justify touring of the band under the Foreigner banner, Jones, 73, makes a sports-world parallel. “People still go to see the New York Yankees, without all their players from the past, don’t they?”
So, Lou Gehrig no longer suits up for the Yankees, and Lou Gramm no longer sings for Foreigner. These days, band membership changes, but the music does not. To paraphrase Abbott and Costello: Who’s the singer, I don’t know is the guitarist, what’s the bass player and I don’t give a darn is on drums.
Old comedy routines aside, the question of authenticity is a legitimate one. Is the newly reformed Stone Temple Pilots genuine without late singer Scott Weiland? Can the Eagles fly without Glenn Frey? Peter Cetera is long gone from Chicago, Steve Walsh isn’t in Kansas any more and Toto doesn’t look the same as it used to either.
Jones, who spoke to The Globe and Mail while in Toronto recently to attend auditions for the upcoming Foreigner-based stage musical Jukebox Hero, admits that comparing a legacy band to a sports franchise is a “loose analogy.” He’s firm in his belief, though, that he has every right to tour as Foreigner, with or without any other original members.
“The group as it now is the best form of this band I’ve ever had,” he says, referring to a lineup fronted by the talented but uncelebrated singer Kelly Hansen since 2005. “They’re dedicated to bringing the band back to headline status. It’s been blood and guts over 12 years to get back to that level, and I’m not going to throw it all away.”
I want to know what Foreigner is
Foreigner was formed in 1976 by former Spooky Tooth songwriter and musician Jones, a Hampshire native. Some of the members were British, while others, including singer Gramm, were American. On the strength of hits Feels Like the First Time and Hot Blooded and slow-dance staples Waiting for a Girl Like You and I Want to Know What Love Is, Foreigner has sold more than 80 million records worldwide.
In 1980, a pair of original members were let go by Jones, and, in 1990, Gramm (dubbed by Rolling Stone magazine as the “Pavarotti of the power ballad”) left for the first time. He came back two years later, but health issues caused him to leave again in 2003.
Replacing a singer is a delicate operation. The voice of a band is deeply identified with its songs, which often contain lyrics written by the vocalist. Outfits past their prime tend to replace departed singers with anonymous sound-alikes. Journey’s current singer, Arnel Pineda, was in a cover band when his YouTube videos were noticed by Journey guitarist Neal Schon. In 2007, the Filipino vocal clone of signature singer Steve Perry passed an audition, and he’s been Don’t Stop Believin’ it ever since.
Likewise, the 2001 film Rock Star was loosely based on the experiences of Tim (Ripper) Owens, a Rob Halford imitator who replaced that singer in the metal-band legends Judas Priest in 1996. (Halford is now back with Judas Priest, which currently tours without long-time guitarists K.K. Downing and Glenn Tipton, who recently announced he was suffering from Parkinson’s disease.)
Van Halen, on the other hand, replaced its charismatic howler David Lee Roth with frontmen much different in style from the original. With the well-established singer-guitarist Sammy Hagar on board – and later with Extreme singer Gary Cherone – Van Halen became a supergroup of sorts. (Roth would eventually return to the band.)
Asked about replacing Gramm, Jones says that while he wanted to avoid hiring a karaoke artist – “I wanted someone who was able to interpret the songs properly and gradually be able to carve their identity out too” – he recognized the need for a familiar vocal sound. “The audience wants to get that chill they had when they first heard the songs.”
Spearheaded by the elite’s favorite stylist Bea Akerlund, Ikea’s new ad campaign is a blatant display of the occult elite’s symbolism.
Furniture mammoth Ikea hired Bea Akerlund, the industry’s most prominent stylist, to create a line of cheap, useless objects. And the ad campaign surrounding these cheap, useless objects is 100% based on the most horrific project known to man: Monarch Programming. Makes sense, right?
Simply by looking at the image at the top of this article, most readers VC probably identified the clear, unmistakable reference to Monarch programming. And there is much more. But the people at Ikea could not expect anything else by hiring Bea Akerlund. Indeed, she and her husband – influential video director Jonas Akerlund – have been shaping pop culture and infusing it with the elite’s imagery for years. And that is not an overstatement.
Each article linked above provides tons of examples of the Akerlund’s focus on occult-elite, MKULTRA symbolism. However, it is with lesser known acts that the true, unfiltered spirit of the Akerlunds shines through.
Not only do the Akerlunds shape the visual imagery surrounding the world’s biggest pop stars, they also create ad campaigns for the world’s biggest corporations such as H&M, Virgin Mobile, Adidas, Citroen, Dell, McDonald’s, Panasonic, Puma, Miller Light, Nike, 7-Up, BMW, Ford, Toyota, Nissan, Visa Business Card.
The latest mega-corporation on the list: Ikea.
The ad campaign promoting the Omeldebar collection mixes hypnotic patterns with circus-fanfare music that screams: “I am losing my mind”. And, right from the beginning, there is no doubt that we’re in Monarch Programming territory.
The ad then references another Monarch Programming staple: Alice in Wonderland.
In Alice in Wonderland, Alice follows the white rabbit through the looking glass into a non-sensical, confusing world where anything can happen. In Monarch Programming, Wonderland represents the slave’s dissociated state which is fully controlled by the handler.
“The White Rabbit is a programming figure for Alice In Wonderland Programming who will allow you to go to otherwise inaccessible places for adventure. He represents the master. The White Rabbit is an important figure to the slave.” – Fritz Springmeier, The Illuminati Formula to Create a Mind Control Slave
The next scene confirms that this is all about Monarch programming and nothing else.
Then, things go deeper into the murky world of MK.
The above screenshot is significant for another reason: It is a recreation of paintings made an actual Monarch mind control survivor: Kim Noble.
In the first painting, the girl holds a rose in her hands. In the second, the girl is crying and the rose is on the ground, destroyed. This can represent the slave after being “deflowered” by her handler.
Yes, you are still reading an article about an Ikea commercial. Did you expect things to get so dark? Well, this is the world we live in now. This is what is being promoted all over mass media now.
The fact that Bea and Jonas Akerlund are given lucrative contracts by the world’s largest companies should come as a no surprise. They are the elite’s favorite image makers. Everything they do is permeated with the elite’s sick obsessions: Mind control, ritual abuse, satanism mixed with “style” and “glamour”.
They’ve shaped the images of the world’s most influential stars such as Lady Gaga, Beyoncé, Katy Perry, Britney Spears and countless others. They’re a major reason why pop culture is now a pool of homogeneity where all “artists” end up displaying the same symbolism. Personal style and visual imagery used to be a way for artists to express their individuality, their rebellious nature and their unique world outlook. Now, “style” and “fashion” are a uniform indicating submission to the elite’s agenda. And, now, they’re selling that uniform to you.
Facebook and social media might seem like a nice place to relax in our free time, but beware, beneath the surface there are sharks swimming…/Artist credit: John Holcroft
In spite of overwhelming historical evidence proving powerful elitists engage in child sex abuse, and it occurs in the shadows of every element and class of society, many of us pretend not to see, which is a shameful betrayal of our children/Artist Credit: Lubomir Arsov
The most dangerous ride in the world because psychopaths control it — Safety not guaranteed/Artist credit: John Holcroft
Looks like we finally found Nemo…/Artist Credit: Luis Quiles
What justice for animals would look like if it truly existed/Artist Credit: Unknown
If we don’t make a conscious effort to educate our children, the internet most certainly will/Artist Credit: Gunduz Agayev
“The problem is not that there is a lack of money, food, water, or land. The problem is we’ve given control of these resources to psychopaths.”— Gavin Nasicmento/Artist Credit: Lubomir Arsov
They may appear to be different, but the establishment media are ultimately being steered and controlled by the same force/Artist credit: Paweł Kuczyński
This world will never be saved by arrogant assholes, it can only be saved by those who are made of heart/Artist Credit: Gunduz Agayev
Researchers like Graham Hancock have influenced by sense of these connections and point to the possibility of a source “super” civilization that may have had some of its knowledge recorded metaphorically or artistically in places like Central America, Mexico, Peru, India, China, as well as in Egypt.
Graham asserts that “stuff keeps getting older” and makes a strong case for a cataclysmic event that wiped out such a civilization with a comet impact about 12,000 years ago, approximately the time Plato attributed to the decline of Atlantis, which may be much more than a mere myth.
These theories are beautifully and graphically explored in the web series Magical Egypt.
The latest segment proposes that the two “polarities” of Consciousness seem to arise from (or reference) the two hemispheres of the brain.
These are the “dualities” of energetic complementarians — Yin/ Yang, Plus/ Minus, Male/ Female, Hot/ Cold, Night/ Day, Sun/ Moon and so on.
In Episode 4 I was introduced to the amazing work of Richard Cassaro, who is the author of two books that explore deep connections between secret societies and ancient civilizations.
What struck me deeply — besides the wonderful comparisons of ancient structures from all of these locales and their overlapping, identical motifs, was his focus on the “Godself image.”
This ubiquitous image displays the complementary forces in either hand of a deity, mythical creature, or actual spirit animal with emphasis on the head or disc at the top of the torso.
According to Cassaro this disc is a Third Force — a reconciling or “vertical” dimension that rules over the conflicting forces and presumably “intelligently” creates the result for the potentiality of energies within the expression of THE PRESENT MOMENT.
Cassaro asserts that like modern thinkers such as Eckhart Tolle, ancients believed that time and space are mental projections affected by the sensory limitations of sentient creatures.
The sole connection to a higher dimension that affects us sporadically according to our consciousness and level of being is literally “time-less” — and is experienced only in our lifetimes within moments of complete clarity.
These beliefs can be traced back to Gnosticism and the actual parables of Jesus and again, a “lost Christian” tradition that sought transcendence of the mental realms to connect with a reality beyond thought.
Gurdjieff and his student Ouspensky, author of the classic In Search of the Miraculous, brought a teaching that he hinted came from “Pre-Sand” Egypt — a time which geologists like Robert Schoch have recently identified as more temperate and accounting for the striations at the bases of the Sphinx that were caused by water erosion (hard to imagine in today’s Sahara but possible before the great flood or other cataclysm that might have wiped out a “super civilization” or source culture).
Gurdjieff also asserted a sacred Law of the Threes — three basic forces of Nature that shape our reality — the forces were also:
“Holy Affirming Holy Denying Holy Reconciling Transsubstantiate within me for my being.”
In the summary of Gurdjieff’s work linked above, philosopher Jacob Needleman also describes, “the idea of the three centers in man is one of the most central ideas in the whole of the Gurdjieffian system.
Man’s confusion, his lack of unity, his unnecessary suffering, his immorality — in fact everything that characterizes the sorrow of the human condition — come about because these centers of perception are wrongly related, wrongly functioning, and because man does not see or care to know this about himself.”
These three centers relate to the three forces obviously, but again what is striking is that the reconciling force does not “act” in the present moment, but actually, somehow, beyond our normal comprehension literally IS the present moment.
This interpretation seems to be shared by the Gurdjieff teaching, Cassaro’s interpretation of the GodSelf imagery, and the artistic deconstruction done by the producers and other contributors to the Magical Egypt series — which is a study of an ancient science of Consciousness.
It is also known that before bringing his teaching back to Russia, Gurdjieff spent many years in Egypt working as a tour guide at Giza and apparently studying the ancient monuments and texts.
I believe that this also relates to some of my own work because I am so interested in the confluence of DNA code and computer software.
As I have noted here and in my recent book, the notion that there can be code, that can be edited, without Mind as its progenitor is contrary to all actual experience and empirical evidence.
Every other program that we know of is mind-based, as are we.
The key point here is that Mind is not “resident” only in the human brain. It may well be a natural force of nature and indeed the Reconciling or Third force known to the ancients.
Just as some cultures have numerous words for “love” or even “snow” depending upon their beliefs and connection to physical reality, so too may we need to broaden our concept of Mind to accommodate different “frequencies” — some of which may occur in nature beyond our current level of understanding.
For example, the Egyptian “deities” which we consider primitive were actual representatives of the various “intelligences” of Nature worshiped by Egyptians as part of Maat — the Natural Order — such as the floods that irrigated crops, wind, sandstorms, Sun and Moon and their radiant energy, and so on.
Art aficionados like to pretend that there’s a very specific and complex science behind interpreting paintings. But as these humorous tweets reveal, the hidden messages are often pretty obvious, not to mention pretty funny!
These modern interpretations of centuries-old paintings come courtesy of Medieval Reactions, a wryly funny Twitter account that’s making people smile with its contemporary take on traditional artwork. And as you can see, it appears that the observations and dilemmas faced by our ancestors aren’t that much different to those of today! Don’t forget to vote for your favorite!
If you walk into the film industry and start interviewing people like Eli Roth, you will almost certainly hear incredible and bizarre things. Roth would tell you that he aspires to “fu$k up an entire generation” through movies.
Roth and his brethren have been in the business for years, so they know the drill. Roth probably knows the story of Samson and Delilah. He probably knows that Samson’s lust darkened his mind and eventually sent him to his death.
Roth almost certainly knows that the best way to destroy the morals of his audience is to prey on their lust and appetite. That is why Roth’s brethren have spent years fighting against obscenity laws and pornography in the United States.
As Jewish scholar Nathan Abrams himself puts it,
“Older generation of Jewish filmmakers and actors, here [Woody] Allen, [Stanley] Kubrick and [Ron] Jeremy, arguably not only increased the Jewishness of their work, but updated it to match the new post-1990 sensibility by defining it in increasingly sexualized (and pornographic) terms.”
Abrams declared elsewhere that “Jewish involvement in porn” is actually “is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion.”
Another Jewish scholar by the name of Josh Lambert tells us that people like Larry David and Sarah Silverman “are challenging America’s powerful religious, family-friendly culture and asserting their Jewishness by glorifying obscenity.”
Yet David and Silverman are hardly the only people who are “glorifying obscenity” in Hollywood. David Cronenberg obviously beat them to the punch. Cronenberg got to the heart of the matter years ago by laying out his ideological weltanschauung in an interview with the Rolling Stone this way:
“Nothing is true. It’s not an absolute. It’s only a human construct, very definitely able to change and susceptible to change and rethinking. And you can then be free. Free to be unethical, immoral, out of society and agent for some other power, never belonging.
“Ultimately, if you are an existentialist and you don’t believe in God and the judgment after death, then you can do anything you want: You can kill, you can do whatever society considers the most taboo thing.”
Cronenberg’s moral calculus here is logically and philosophically incoherent. If “nothing is true,” then Cronenberg’s statement that “nothing is true” is not true. In order for the statement to make sense, Cronenberg has to assume that it is true! And if it is true, then the “nothing is true” is categorically false, which means that his entire argument collapses.
In short, Cronenberg is positing truth claims while denying truth exists! He is trapped in his own ideological matrix.
Living the incoherency of his system aside, Cronenberg is basically saying that you can only be free if you can come to the conclusion that nothing is true and that morality is, as philosopher Michael Ruse believes, “flimflam.” But because he is morally and intellectually blind, Cronenberg could not realize that his axiom is self-defeating.
Morality, as we all know, is inexorably linked to practical reason. It is also essential to esthetic truth and intellectual pursuit and honesty. As E. Michael Jones rightly puts it,
“The intellectual life is a function of the moral life of the thinker. In order to apprehend truth, which is the goal of the intellectual life, one must live a moral life. One can produce intellectual product, but to the extent that one prescinds from living the moral life, that product will be more a function of internal desire—wish fulfilment, if you will—than external reality. This is true of any intellectual field and any deeply held desire.”
Truth, as Plato puts it, is like seeing things the way they really are. And practical reason (another word for morality) is one of the main tools for discovering metaphysical truth.
Yet since Cronenberg dismisses practical reason in his ideological calculus, there was no way for him to make a logical point without falling into his own trap. In the process, he has become a monster, as one scholar has argued.
The Rolling Stone interviewer asked, “Does the artist have any moral or social responsibility?” Cronenberg:
“No…Your responsibility is to be irresponsible. As soon as you talk about social or political responsibility, you’ve amputated the best limbs you’ve got as an artist. You are plugging into a very restrictive system that is going to push and pull and mold you and is going to make your art totally useless and ineffective.”
Cronenberg’s philosophy, scholar William Beard tells us, is “the disappearance of ethics.” It is actually “a world of unimpeded desires without consequences, where ‘everything is permitted.’ Metaphorically, this is the world of violent video games, of indulgent Hollywood movies, and also of the transgressive, boundary-piercing cinema of David Cronenberg.”
No responsibility, no morality, no ethical values, and no limit, nothing but ultimate meaninglessness and existential hell in movies. Existence itself, as indicated in Cronenberg’s movie eXistenZ, means corruption, moral degradation, and ultimately pathetic death. The axiom of eXistenZ is that “nothing is true; everything is permitted.”
“Every time I kill someone in my movie,” says Cronenberg, “I’m rehearsing my own death…It’s an existential truth, it’s very raw and real.” Didn’t Cronenberg state that nothing was true? Why is he now smuggling in truth in his philosophical trap?
Cronenberg, who has a “historic affinity with existentialism,” is also playing with the lives of his viewers. He admits that eXistenZ is filled with “existential propaganda.” Scholar William Beard comments:
“The disappearance of stable theoretical foundations for human society and human values, the stark realization of the insignificant position of humanity in a material cosmos, the undermining of all kinds of knowledge about the world and ourselves, leaves the existential human subject without clear guideline for living, with no certainty of anything but his or her own death…Culture, science, the whole edifice of modern European civilization are ineffectual in addressing the individual’s desperate plight.”
Once the existentialist denies metaphysical truth, he has to start creating his own “truth”: “From this we must create ourselves as meaningful beings, and create the world as meaningful for ourselves. From this we must build up the new foundations of our own lives, adding other people, culture, history, and politics tentatively and fragmentedly as necessary…”
Existentialists like Cronenberg, says Beard, “cut individuals off from the fundamental questions of personal existence, and leave them alienated in a world crowded with facts but void of meaning.” The philosophy of existentialism teaches Cronenberg that people “are all doomed to die and be swallowed up by Nothingness, but along the way we may carve out a niche or ledge on the cliff…”
Therefore “science” and technology are meaningful if they can advance sexual desires and appetite. It was no coincidence that Cronenberg has seized technology in the information age to advance his appetite to a wider audience. He bragged that “technology is with us,” meaning that he can use that kind of medium to get his essentially Freudian and therefore Talmudic ideas to unsuspecting viewers.
Put simply, Cronenberg is indirectly reinventing what Nietzsche would have called the transvaluation of all values, which again states that morality is an illusion and that any culture which becomes docile to the moral order must be overthrown.
But in order to do that, Cronenberg has to go back to his revolutionary roots, which is neither Western nor rational but essentially Talmudic or Freudian: “I think we start off with what Freud called a polymorphous perverseness.”
One can easily argue that this “polymorphous perverseness” is at the core of virtually every Cronenberg film. In fact, Cronenberg admitted that characters in movies like Crash, M. Butterfly, Naked Lunch, Dead Ringers, and Sterero, were “reinventing sexuality,” which is another way of saying that Cronenberg’s characters were subverting the sexual order. Cronenberg’s existential philosophy, Beard says, is
“sexual or predatory, a drive, an appetite, that invokes Freud far more readily than the Sartre who heatedly rejected a Freudian view of life in which individuals were unfree prisoners of their psychic histories and hardwired desires.”
Cronenberg’s characters in eXistenZ, Beard continues,
“seem to reproduce that quasi-Freudian sense that their individual freedom—a sacrosanct item of the existentialist creed—is compromised by appetites that are so powerful they are strongly impelled to do something ethically ugly. This happens to Pikul in the Chinese restaurant. He finds he wants to kill the waiter, and is told by Geller that the impulse is part of his game character’s make-up and that he won’t be able to do anything to stop it.”
The interesting thing is that Cronenberg has successfully passed his essentially diabolical ideas to his son Brandon, who is now following the family tradition. That fact became quite obvious when David edited Brandon’s first feature film Antiviral, which the Rolling Stone itself has described as “sickening,” and which has the same “disturbing obsession with bodies and technology that animates his father’s films, from The Fly and Dead Ringers to Videodrome and Existenz.” The Rolling Stone reported,
“The son was infected with his father’s own sense of cerebral horror, and he is not rebelling against it. ‘I wrestled with it at first,’ he says, ‘but you get affected by how you grow up….’”
Cronenberg, whether he likes it or not, should be called a Satanist precisely because he is anti-Logos. But there is a bigger picture here. Cronenberg’s ideology has been transported to places like Japan as well. For example, one of Japan’s most controversial filmmakers is none other than Takashi Miike.
Miike says that he is a fervent admirer of directors like David Lynch (Lost Highway), Paul Verhoeven (Basic Instinct), and of course David Cronenberg. These people are what one should call cultural subverters. Verhoeven meant it when he said:
“As a director, my goal is to be completely open. Just look at how I portray sex in my films. They’re considered shocking and obscene because I like to carefully examine human sexuality. It has to be realistic.”
Verhoeven also declares that he has been “fascinated by the occult: black magic, UFOs, and kinetic energy. I also experimented with hypnotism, trying to get my friends to remember former lives.” It was a natural step for Verhoeven to move from an interest in the occult to bringing his viewpoint to life in films. Turning from the unknown and unknowable, Verhoeven replaced his own ideology with reality:
“My films became my anchor to reality, and I began to make extremely realistic movies. I felt compelled to show things as explicitly as possible—a tendency which many film critics have dismissed as banal.”
Verhoeven applied this tendency most often to the area of sexuality, explicitly portraying sex in movies like Showgirls, Basic Instinct, Turkish Delight, and The Fourth Man. Yet even in RoboCop, which in comparison has little sexuality, Verhoeven’s worldview is clear—this time he is substituting Logos incarnate with his own imagination:
“It’s pure resurrection. For me, RoboCop is a Cytale. First, Murphy is gunned down in the most horrific way: that is the Crucifixion. And it has to be so violent, because the audience has to remember him.
“Before that, he has not done anything in the film. He comes to the police station to put on his uniform, then he goes after the villains with his partner, and bang! he is dead. That shooting is the only thing about him—I did that deliberately.
“Next, the film makes a steep descent into the finite, after which he experiences his Resurrection, in a modern day…RoboCop is a Jesus figure—an American Jesus…Americans want to be humane, but if they think it takes too long, Christian morality is pushed aside for the moment and they go for their weapons—just like Robocop.”
Biographer Rob van Scheers writes,
“Both in his films and in his personal life, Paul Verhoeven has always practiced a free sexual morality of which he makes no secret…Verhoeven would add in the gay magazine The Advocate: ‘Sex is a form of play—doing what you did when you were four or five years old and were playing in the street with your friends. Once you are grown up, it is difficult to be playful, but one of the ways you can is with sex. It is a way of showing yourself: That’s how I’m made. This is what I like.”
In short, Verhoeven and Takashi Miike are on the same subversive boat. Both individuals want to overthrow the moral order. Eli Roth and Takashi Miike are also on the same boat, working to “fu$k an entire generation.” Of course, Roth himself admitted that he admires Miike’s work. In fact, Roth would have loved to make Ichi the Killer 2. Keep in mind that Ichi the Killer is one of Miike’s “most controversial films,” an “ultra-violent” film which portrays “sadomasochistic” scenes.
Miike admits in an interview with the BBC that he is a “feminist,” so it was inevitable that he would pull this ideology out of his film. “Miike has garnered international notoriety for depicting shocking scenes of extreme violence and sexual perversions…” Of course, this is exactly what Eli Roth and David Cronenberg have been doing for years.
What we are seeing here is that Hollywood stirred the subversive pot, and other nations such as Japan and South Korea followed suit. Even the new South Korean movie, Train to Busan, “borrows heavily from World War Z in its depiction of the fast-moving undead masses while also boasting an emotional core the Brad Pitt-starring extravaganza often lacked.”
If no social progress is possible outside the moral order, then Satanists in Hollywood are contributing to the demise of social docility and cultural harmony around the world. The solution?
A return to practical reason and metaphysical Logos, the essence of true creativity and beauty. Movies such as The Lord of the Rings were written under those premises. As Israel Shamir rightly points out, Logos is “the main fountain of creativity.” Shamir also argues that true visual art or poetry simply cannot exist outside of Logos.
If Satanists in Hollywood rejects “the main fountain of creativity,” then they can only produce degradation, ugliness, meaninglessness, despair, and ultimate chaos and confusion. It was only a matter of time before the art world was used as a weapon against Logos:
“A photograph of a crucifix in a container of urine, entitled Piss Christ, was exhibited in the Whitney Museum, which is headed by a great friend of [former Israeli Prime Minister] Ariel Sharon, a member of Mega, Leonard Lauder.”
This is one reason why people like Carolee Scheemann use nothing but blatant sadistic/ sadomasochistic sexual imagery in their “art.”
 Josh Lambert, “‘Dirty Jews’ and the Christian Right,” Haaretz, February 3, 2014.
 David Breskin, “David Cronenberg: The Rolling Stone Interview,” Rolling Stone, February 6, 1992: 66-70.
 It is almost the same thing with relativism. I have been listening to an interview E. Michael Jones did with Alex Fontana during which Fontana declared that he doesn’t know if he agrees with “objective reality.” He then lays out his position by saying, “I guess I am a relativist.” I was completely stunned because during the entire interview Fontana was basically dissecting some ideas in the culture and implicitly arguing that they were wrong! Fontana could not see that there is no way to adjudicate two fundamentally opposite ideas if relativism is true. I was also shocked because relativism has been abandoned by serious thinkers years ago precisely because it is devoid of coherency and rigor. This is why Jones told him that relativism “is incoherent. It makes no sense ultimately.” I have discussed the incoherency of relativism in numerous articles. An example can be found here.
 Michael Ruse, “God is dead. Long live morality,” Guardian, March 15, 2010.
 E. Michael Jones, Degenerate Moderns: Modernity as Rationalized Sexual Misbehavior (South Bend: Fidelity Press, 2012), 15.
 Plato, The Republic (New York: Oxford University Press, 1993), 116.
 See for example William Beard, The Artist as Monster: The Cinema of David Cronenberg (Toronto: University of Toronto Press, 2006).
 Breskin, “David Cronenberg: The Rolling Stone Interview,” Rolling Stone, February 6, 1992: 66-70.
 William Beard, The Artist as Monster: The Cinema of David Cronenberg (Toronto: University of Toronto Press, 2006), 434.
A team of archaeologists has discovered a vast array of pre-European conquest artwork from a lost civilization in a series of tiny caves on an uninhabited island in the Caribbean.
Some of the artwork was already known to archaeologists but had been misidentified as far more recent than it actually was. The Taíno people, a forgotten civilization that were wiped out following the conquests of Christopher Columbus, who mistook them for Indians, etched and painted a series of pictograms of animal-human hybrids and complex geometric designs.
“For the millions of indigenous peoples living in the Caribbean before European arrival, caves represented portals into a spiritual realm, and therefore these new discoveries of the artists at work within them captures, the essence of their belief systems and the building blocks of their cultural identity,” said researcher Jago Cooper from the British Museum, as cited by Science Alert.
In the Taíno religion, for example, both the sun and moon emerged from caves, making them a key feature of their religious canon. “Most of the precolonial pictographs are in very narrow spaces deep in the caves,” says Victor Serrano from the University of Leicester as cited by The University of Leicester Press, where the team’s findings were published.
To correctly date the artwork, the international team of archaeologists and anthropologists, along with their high-tech equipment, had to squeeze through a network of 70 tiny caves. Employing cutting-edge techniques such as portable X-ray fluorescence (P-XRF), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM/EDX) on paint and charcoal samples, the team were able to establish the methods used to not only create the artworks on the cave walls but also the paint and charcoal themselves.
The team also used radiocarbon (C14) and Uranium-thorium (U-Th) dating methods to more accurately define the period of history in which the artworks were created. These methods have the potential for widespread application across the globe and could advance the integration of cave art research in archaeology.
Taíno people left their legacy embedded in the rock of Mona Island, which today is a 57-square-kilometer (22 square mile) uninhabited nature reserve consisting mostly of limestone and vegetation to the west of Puerto Rico. “As a Puerto Rican, these groups of people that visited and lived in Mona Island are my ancestors, and their story is of utmost importance,” says Serrano.
The majority of the pictograms were created by scratching at the rock face with tools or with their hands while the remainder were paintings created with the use of charcoal or bat droppings (guano) that had been mixed with plant resins. The paintings were created in a multi-step process with additional layers and touch-ups detected by the archaeologists.
The words “hurricane, canoe, and tobacco” are all Taíno in origin. In addition, the Taíno are believed to be among the first peoples to cultivate sweet potato, corn and pineapple, creating a legacy that endures to this day, unbeknownst to many.
When you think of a CIA agent, you probably think of the Hollywood stereotypes: a tall, athletic man in a black suit with dark sunglasses, walking around with one hand on his gun and the other on his ear piece. But that’s stupid. Spies are meant to blend in, not stick out, and the best spies are the ones you’re least likely to expect. So I bet you never knew these people were secretly working for the CIA…
Mexican politician seen in video atop US border fence
He told reporters at Wednesday’s unveiling of the portrait that he was spurred by a dream in which he imagined a kid looking over the border wall.
“And when I woke up, I wondered: ‘What was he thinking?'” he said. “Like for us we know all the implications, what it represents, how it divides, but for a kid, I didn’t have the answer.”
A year later, when JR was scouting for the perfect spot for his project, he noticed a house in Tecate near the border wall. He and a Mexican friend knocked on the door to see about the possibility of locating it around there.
After they drove away, it occurred to him that the 1one-year-old at the home who had been staring at them reminded him of the boy he had dreamed about.
JR and his friend immediately went back. The artist asked the woman if he could photograph her son. She knew his work and agreed.
JR told the New York Times that the idea that borders should be closed is for him, “not a discussion”.
“As an artist, I try to bring back perspective,” he said. “For this little kid, there are no walls and borders.”
The artwork was unveiled the week US President Donald Trump said he would end a programme that has allowed young immigrants who were brought to the US without documents as children to remain in the country.
The administration also accepted more proposals for its plans to build a continuous wall along the nearly 2,000-mile border.
JR said he did not intend for the project in Tecate to coincide with the news about the Deferred Action for Childhood Arrivals programme, known as DACA.
Sections of wall on the Mexican side have been covered with paintings of everything from butterflies to an upside-down American flag.
JR has erected other large-scale portraits in the slums of Paris, from the top of buildings in Rio de Janeiro, and set up giant photo booths from Israel and Palestine to the US.
The latest piece will remain in Tecate for a month. JR hopes people will view it from each side.
An established but little known psychological theory is likely to improve performances across a range of activities, including sport, according to new research published that can be applied to amateurs or skilled performers alike says psychologist Dr Warren Mansell, from The University of Manchester.
Many philosophers believed that all behaviors are predetermined and have a causal lineage. Some of the factors believed to influence determinism include genetics, environment, and past and present experiences.
Results of Perceptual Control Theory experiments have demonstrated that an organism controls neither its own behavior, nor external environmental variables, but rather its own perceptions of those variables. Actions are not controlled, they are varied so as to cancel the effects that unpredictable environmental disturbances would otherwise have on controlled perceptions. According to the standard catch-phrase of the field, “behavior is the control of perception.”
The theory argues that when trying to improve performance, teaching people what to do is less effective than teaching them how to picture the outcome.
Higher level control systems often are able to use known strategies (which are themselves acquired through prior reorganizations) to seek perceptions that don’t produce the conflict. Normally, this takes place without notice. If the conflict persists and systematic “problem solving” by higher systems fails, the reorganization system may modify existing systems until they bypass the conflict or until they produce new reference signals (goals) that are not in conflict at lower levels.
It has been already been used to accurately model the skills necessary for fielders to get to the right location on the pitch to catch a ball, such as in baseball or cricket.
But according to Dr Mansell, it could be used across sport and the performing arts.
To test the theory, the 48 participants in Dr Mansell’s study were asked to draw images using different instructions.
The images ranged from complex to simple symbols and participants were asked to either copy them directly, copy from memory, or copy by giving instructions on how to move the pen. They were also told draw the image after being told what it looked like.
Describing the image led to significantly more accurate drawings than giving the instructions for what movements to make.
He said: “We commonly instruct people in terms of the physical actions they must carry out in order to perform any task.
“Our study – which we think is the first of its kind – tests the effect of describing how to perform a skill in terms of the perception of the outcome compared to the observable actions.
“And the results were fascinating: the accuracy of the drawings where participants were told what to perceive was almost as good as copying the image directly.”
The theory could also be applied to dance, says Dr Mansell: learning a complex routine is all about an internal sense of where it feels right, rather than obsessing on movements, he argues.
He added: “There is a physiological explanation to this: muscle groups interfere with each other by contracting against another when performing a variety of tasks – whether that’s drawing, dancing or catching a ball.
“So you may not be able to accurately instruct your limbs what to do, but creating a mental picture of the desired outcome gets around that in efficient manner.
Carla Brown-Ojeda, the student who conducted the study, explained: “Different coaches in sport use a wide array of methods, some of which involve the coach directly instructing the learner how to move. Yet if our research generalises, then a simpler, purely ‘perceptual’, method might be developed.”
“Our citizens should know the urgent facts…but they don’t because our media serves imperial, not popular interests. They lie, deceive, connive and suppress what everyone needs to know, substituting managed news misinformation and rubbish for hard truths…”—Oliver Stone