The struggle for your mind has been a long one. Dating back some thousands of years, it has never been more concisely relevant, compact and to the point than too the present and high tech involvement in your surveillance.

Superfluous in detail, it started with the Catholic church, long ago, that knew everything and held hold of all information. The University is the creation of the church, usurped from the ideas which inspired the creation of the University of Bologna by the Holy Roman Emperor Frederick Barbarossa. The church ever wanting to become the Holy Roman Empire of the mind, the empire of the spirit.

Fastidious with its self styled right to produce it, the Jesuits of old at the church’s apex of power; their clandestine agents which have inspired the present, that infiltrated. Back stairs and stealthy ways, this warrior class, took on the dress of the opposition to gain what information could be used to bring it down, priests became friars and embraced and mimicked the other religions and a power transformed from an aged and old non functional Roman Empire in how ridged the detailing of a person of interest, life could be.

Right now its down to preferences of one ice cream flavor over another. Preference of colors; favorite color? Nothing is without notice and politics and religion and the psychology, all have meaning in some pseudoscience experiment for your mind, and, are not separate from the art or culture that one attends oneself too.

Everything that can be known is known, and still that will not be enough.

And politics and belief has lead to what art should be important. One artist over another. One writer, journalist of intellectual quandary over another, the molding of a human mind, the usurpation of minds and their set of beliefs and morals. Reinforced by outside measures and another useful idiot is created to parrot the politics of the controller.

Operation Mockingbird was a operation loaded with the faithful, and this expanded to include newspapers, periodicals and any and every means of media representation of ideas and current events.

In the front of Broadcasting House, the home of the BBC stands a full over-life-size sculpture of Eric Blair (George Orwell), on the wall behind it states the quotation chiseled in stone…“If liberty means anything at all, it means the right to tell people what they do not want to hear”

And this should have been the motto of democracy and those who spread it, as it propagandized the Soviets and countries of American interest. Artists with the likely minds were recruited and collected into an organization that further the idea of democracy; through the ‘Congress for Cultural Freedom (CCF)’.

Telling them what they don’t want to hear…

“I know that the English intelligentsia have plenty of reason for their timidity and dishonesty, indeed I know by heart the arguments by which they justify themselves. But at least let us have no more nonsense about defending liberty against Fascism. If liberty means anything at all it means the right to tell people what they do not want to hear. The common people still vaguely subscribe to that doctrine and act on it.”

Freedom, liberty: both adhering to similar qualities but not; liberty, the quality or state of being free; freedom, “the quality or state of being free: such as …

Which leads me to my point.

The ‘Congress of Cultural Freedom (CCF)’, in America (1950), and the earlier version of the ‘Freedom Defence Committee (FDC)’, England, both Institutions of Anglo-Americanism that believed they had the right to ” […]tell people what they do not want to hear.”.

The latter spending much time in protecting ‘socialist freedom’ seeking out communists and creating the scare until dissolved four years later in 1949. The FDC chaired by Herbert Read; professor of fine Art and art champion of Moore and Nash, Hepworth. Promoted these bastions of art freedom to the world.

And finally, The Freedom Defense Committee was vice-chaired by none other than George Orwell himself, and his close friend, George Woodcock played secretary.

But first a little background and closer focus on the Congress of Cultural Freedom…

CCF came about in Berlin 1950 as a answer to the events of World Congress of Intellectuals in Defense of Peace and organizations like the World Peace Council.

“Give me a hundred million dollars and a thousand dedicated people, and I will guarantee to generate such a wave of democratic unrest among the masses yes, even among the soldiers of Stalin’s own empire, that all his problems for a long period of time, to come will be internal. I can find the people.”

— Sidney Hook

The CCF drew hardliners, soppy Americana patriots who had drank the Kool-Aid and believed in that exceptionalism of America and democracy.

Sidney Hook, a Marxist a Social Democrat, American philosopher of history, education and political history and the sweet spot: ethics. There is always ethics.

With a fierce cast in iron hatred of communists, he taught his particular scope of communism and the Soviets through the The New School for Social Research (NSSR). Ah yes, that placement of arranged Americanism of education that the CIA drew on for its agency. It gave birth to some of the most famous of old weird Hollywood.

The New School, the brain child of such Marxists as Thorstein Veblen, Charles Beard, John Dewey. Home of the ‘University in Exile’, political philosophy scholars like Leo Strauss, the sainted scholar of the Straussian Neo-con found a home here; Eric Fromm, Hannah Arendt; social psychologists and social engineering specialists like Everett Dean Martin, Historians Charles and Louise Tilly…

The New School incorporated the Liberal Arts that taught musicians and poets, actors and writers, dancers and even the nasty beginnings of feminist writer. Many famous names came from the New School and taught there, teachers like Stella Adler and Elia Kazan. Actors like Bea Arthur, Rod Steiger, Brando, Tony Curtis, Ben Gazzara, Harry Belafonte, Shelly Winters, all alumni…

The Congress of Cultural Freedom was considered by the CIA to be one its most successful operations, combating communism and neutralism during the Cold War. They claim the program ended in 1966. But it hasn’t — the CIA funded it until 1966 it is said and then the Ford Foundation took over that financing in 1979.

It has evolved to a high tech version of itself. Surpassing the cold war and the Soviets it continues…

It financed periodicals and newsletters around the globe.

Eric Blair (George Orwell) became vice-chair of the Freedom Defence Committee (FDC) in the UK, while the American version of him in, Stephen Spender was associated with the Congress for Cultural Freedom.

Spender along with Irving Kristol, of all people, founded the ‘Encounter’ literary magazine for the CCF, combatting neutralism in a Cold War world. The former resigned after learning the CIA was funding their enterprise. Irving Kristol continued until 1991, the year the Soviet Union fell.

Irving Kristol the godfather of Neo-conservatism — and father of William “Bill” Kristol the ardent Warhawk and most modern version of the latter — influenced the magazine greatly and pushed that propagandist ideal of America and democracy as first in the world, and the hell with all the rest.

The seeds sown by such men in their ideology and the prodigy of their poisonous ideas of reality continues and has extrapolated into a nightmare of world visions.

The Ukraine war comes from such thinking.

Irving Kristol wrote in many magazines and articles of faith in America, supporting the art subservience to American Exceptionalism. Export of cultural and intellectual art ideas pandering and kowtowing those tenets of that faith. Dogmatic and enabling and freeing from art criticism constraint, all art that the CIA deemed significant to American Exceptionalism (AE) and its elite shadow government, the Plutocracy.

Fighting communism was the sole purpose of the Congress of Cultural Freedom, not furthering American culture. Definitely not furthering painting. That became a back seat of the mainstay.

The CCF came out of New School thought and was aimed at intellectuals in the humanities and arts and had greater effect in espionage and spreading of the propaganda of a America and democracy than any other…

The war on Russia has been a complete war and unrelenting since the start of Russia in the modern era. Under the Soviet Union this type of soft power warfare was at a peak. The expansion in the field of espionage was encompassing all the arts.

Artist and writers supportive and part of the plan of AE were financed easily and had for instance, travelling international shows of their art. Publishers were easily found for the writers and poets. Some had knowledge and were eager to help as it furthered their art careers, many did not and were simply tools to seek an end.

It surprising to find that the CIA had influenced art history in America, pushing the trashy nonsense that most find outrageously expensive and appreciating in value as time goes on.

It is as if, art was hijacked in the sixties — of course one could and might state that the Medici’s hijacked the renaissance. But the Medici’s care for art and its creators.

American painters like Rothko and Jackson Pollock rose to greatness because of this influence, and financing, “Art for Art’s sake fell to wayside as abstract expressionist painters became pure propagandists.” It seemed they could get away with anything, and in some one wonders if art was truly the focus for that individual.

Artists like Arp, Bacon, Freud, Hockney, Auerbach all political propagandists; these are some of the artists that had sold their souls for the fame, that could be had just by including oneself and adopting of those ideas.

Auerbach was a mess looking for a dumpster fire.

Social democrats were found in the heart of art itself. What we experience today is the results of that early formation of what was important, even the late work of Picasso and the cubists were part of it…

Anyone who has seen a Pollock knows full well, that “Jack the dripper” is anything but fucking art. It is absurd that this drunk even made it to the becoming, but he surely was an all-American. Part of that beat generation of closed idiots that spoke about how glorious American was in its becoming, the ‘on the road again’ wingnuts who gave in after drinking the Kool-Aid and listening to the riffs of heroin induced, New School jazz musicians of the Tenderloin, their art, waste products of such drug excursions.

Not that jazz is not to be heard, their are some fine, fine musicians of Jazz.

Art became a weapon of war for the CIA. And so the more outrageous the art, the quicker they were to expose it to a cold war enemy…“We are so free we can paint this way.”

But they were chosen as the rock bands of Laurel Canyon were also chosen to indoctrinate a youth of the sixties and the hippie, hypnotized both sides of the equation. The ideas of CCF turned in, even on an American population.

This Social Democratic-liberal disease of the mind that followed us since well before Orwell and Spender forged itself into an institution, now a mainstay in the popular culture today.

It infects real art by contagion.

Nothing today is untouched by the nonsense of neo-liberal democracy and for that fact conservatism and specifically the NeoCon. Which uses it as a refined and important weapon of war against a a Russian Federation that has surpassed and conquered it’s Communist past and knows more than any, the taste, the shape and color and price paid for such totalitarianism. As the west itself slips into a technocratic totalitarianism supporting debauchery and dystopia.

American exceptionalism is that soppy, saccharine sentiment of the patriot. It stinks to high heavens of the phony and fake response to something different and longer-aged like a French wine or early Russian literature and ancient archaeology, of which America has none of that…

For the artifacts of ‘its’ past are temporally organic and still freshly drenched in blood and fleeting and as gut churning as really bad fast food. There are no monuments to an ancient American past, America is a hypothesis that failed and never made it to the thesis state.

Made of a cheap fabric and stucco, held together by bubble-gum and twine, that animal became far too large to support all that it wanted, it is the dream of life instead of a lived life, spite of what it needed. America is gluttony and built in obsolescence; they invented it. It did not exist until the greedy of democracy gave it credibility and now as generations of that fact inherit what their parents left behind, they loot the very institutions that gave it cause.

The ‘Congress for Cultural Freedom’ was an anti-communist propaganda group, but as all modes of thought in the U.S. it became an industry that now manufactures the reality of America and the west for today. That propaganda is a living breathing thing that Disney and the movie studios pump out to the woke on a daily basis. Literature and the actual language is becoming the language of propaganda.

Plutocrats have made CCF, an industry as they manufacture trust in it. And trust is the most potent of things, the corporation prizes this as they cannot understand how it truly is achieved. But they sure know how to manufacture it.

“We have been pushing forward on a new way of storytelling we call ‘collaborative journalism’ on behalf of a number of our clients”

“The trust of the mass population can no longer be taken for granted, and any continuation of the ‘grand illusion’ is dangerous for leaders in today’s world.”

— Richard Edelman

Founded today, the 26th of June in the 1950, in West Berlin, the Congress for Cultural Freedom (CCF), enlisted those willing intellectual warriors in some 35 countries, chose as artists to become warriors to fight the war against ideas, against one time communism in Russia, against neutrality and true peace. Against the World Island and its resource rich Heartland for the sake of the corporation.

“Whether they liked it or not, whether they knew it or not, there were few writers, poets, artists, historians, scientists, or critics in postwar Europe whose names were not in some way linked to this [CCF] covert enterprise.”

— Frances Stonor Saunders

Historians, philosophers and writers; Bertrand Russell and Arthur Koestler, Tennessee Williams while artists like Arthur Schlesinger. Karl Jaspers and Irving Brown, T.S, Eliot and Andre Malraux opposed from the other side.

Irving Kristol (Billy’s dad) — and Stephen Spender until he found out it was funded by the CIA. Invented and moved this propaganda machine to power.

Painters and poets, musicians and writers, and it continued until its eventual evolution into such organizations as Open Society Foundations and its equivalents. Run by the likes of George Soros and his ilk.

The congress founded and sponsored many publications for propagandist purposed. They hosted and funded conferences and publications, seminars and teaching facilities that embedded their ideas in the public mind. They are part of the ‘Reality Manufacturing Machine’ of the west and democracy and that political system.

And that really is an inside joke to those in control, those in control of it. Who seek a global technocratic dictatorship.