Blog Now Live Again – Propaganda Watchdog & The Celebrity Code Next!
“The ordinary response to atrocities is to banish them from consciousness…Atrocities however refuse to be buried. Equally as powerful as the desire to deny atrocities is the conviction that denial does not work. Folk wisdom is filled with ghosts who refuse to rest in their graves until their stories are told…
…Remembering and telling the truth about terrible events are prerequisites both for the restoration of the social order and for the healing of individual victims.”
Judith Lewis Herman, ‘Trauma and Recovery – The Aftermath of Violence – From Domestic Abuse to Political Terror’
“Trauma is personal. It does not disappear if it is not validated. When it is ignored or invalidated the silent screams continue internally heard only by the one held captive. When someone enters the pain and hears the screams healing can begin.”
Danielle Bernock, ‘Emerging with Wings’
‘The Black Book of Contemporary Arts – The Celebrity Code’ book and the Propaganda Watchdog meant that jonhammer.com, (where our journey began), deserved a worthy underpinning and thus to present the content in its best possible light, suited to the latest web developments, and in line with developments in geopolitical progress, returning humankind to the path of light, and therefore in line with our striving for perfection in our work.
This move called for an entirely new address structure (permalinks etc.), and meant that since we first started the migration last year, all links posted anywhere on the web pointing to previously published jonhammer.com blog posts haven’t been working properly.
As a result any https:// links pointing, for example to:
…are now in the new ‘one page responsive’ protocol:
The address protocol of every single blog post, all of our internal URLs, no longer followed the php/mysql http protocol and have had to be updated with the new syntax.
So in order that these all may work, permalinks have needed to be created to override the old defunct address structure and successfully deliver visitors to their required destination on the website, and enabling any old broken links in the Blogosphere, Forums, on Twitter, and on Wikipedia etc. to work again!!
The need to prioritise jobs on our other projects, has also has meant that since last year when we updated jonhammer.com to the new format, the task to modify the old out-of-date urls linking to the back catalogue of posts, was low in our hierarchy of work, as we have been enormously busy with the huge task of delivering ‘The Black Book of Contemporary Arts – The Celebrity Code’…
…and the Propaganda Watchdog.
However, now at long last, as we are readying the roll out of these projects, we have returned to jonhammer.com meaning all the old links should now be fully working again, so anyone who has tried to follow links to old blog posts, and has not been successful, should now be able to resolve them correctly in their browser of choice and view the content more-or-less exactly as it was presented before, (minus defunct hyperlinks) but in the much more intuitive, aesthetically pleasing and more easily navigable showcase of the ‘one page responsive’ theme styling.
We are now pleased to be able to present this completed blog to you now as we start the rollout of our projects:
After over ten years as a graffiti writer and oil painter, I discovered something very strange was happening to freedom’s most precious gift, art.
Baffled by an art world which had turned upside down, the aesthetic standard of humankind, I first became a writer on art theory in the early 1990s, realising that the destruction of art was being actually being committed by those charged with the mandate of preserving it.
After filling numerous notebooks with my observations, I discovered in 2008, and incrementally from there onwards, from bitter personal experience of the exact methodology of the censorship of autonomous art and its substitute with a micromanaged fake, that much of this writing was more relevant than ever; that there was nothing in the way of clear and coherent dissent and understanding from an insider of this on-going money-laundering racket and its innumerable voiceless victims, to be read anywhere, even within the supposedly free web.
In fact if anything appeared in any way approaching any critique of this phenomenon, or its legion of dimwit ‘dancing monkeys’ of the ‘controlled opposition’, including any unfavourable comments regarding the YBAs, so-called Street Art, etc., it was almost immediately removed!
Universal awed reactions to my own work, by the few who were able to see it from all walks of life, led me to think that there could at least be some small place for me somewhere in the art world; somewhere I could modestly go about the business of showing and selling my paintings to those who might like them, if they could only get the chance to see them!
So, stopped forcibly from doing so and seeing that someone needed to expose the truth under the media blackout, I felt the call of destiny to demonstrate the counter-intuitive atrocity orchestrated from behind sentimental propaganda, and I duly started this blog; I made my first post on ‘Across the Tracks and Through the Looking Glass’ on February 16th 2009 and folllowed it immediately with a Disclaimer.
I decided to call the blog ‘Across the Tracks and Through the Looking Glass’, in defiance of this fake art movement, as I felt I had, like Alice in the Fairy Story, undergone a dramatic transformation.
However, unlike Alice I had already taken the first step from the ‘Normal World’ into the ‘Other World’ of the graffiti writer, in my renegade status, ‘Across the Tracks’, but had since stepped first into one very different and very strange parallel universe, and then almost immediately into another!
Worlds both hidden from view; worlds I have in my work set out to describe in one form or another.
The first ‘Looking Glass’ world was the glorious inner architecture of the soul that was opened to me through my childhood fascination with microscopic worlds and sacred architeture.
This was a dimension door blown wide open by the omnipresent 1980s acid-house scene, a return to the ancient shamanic drum ritual, but reinvented through electronics, enabling my elated entry to an infinite bejewelled fractal mindscape of the biological frenzy, of the ‘nonlocal frequency domain’ of the ‘Holographic Universe’, desribed by Michael Talbot, a journey I experienced alongside innumerable joyous souls experiencing first hand what Huxley described in ‘Heaven and Hell’ as the:
“Accounts preserved in all the cultural traditions, of Other Worlds- the worlds inhabited by the gods, the spirits of the dead, by man in his primal state of innocence”.
This is a world which once introduced to, needs no intoxication to bring forth the magic into light, but instead like generations of artists preceding me, demanded years of ascetic adherence to a life of grim toil at the easel in order that the broader public can observe and wonder at its’ marvels without the ingestion of any form of substance, meaning this world is instead, brought back and captured by the artist from his shamanic journey, for the benefit of the wonder of his fellow man, much as the pioneering explorer brought back the flora and fauna of far off lands in the preceding centuries, so his contemporaries need not hack through metaphorical hostile jungles and face incalculable dangers, to wonder at the plethora of marvels brought back for their perusal. Huxley:
“In the history of science the collector of specimens […] His primary concern was to make a census, to catch, kill, stuff, and describe as many kinds of beasts as he could lay his hands on…
…Like the earth of a hundred years ago, our mind still has its darkest Africas, its unmapped Borneos and Amazonian basins….
…In relation to the fauna of these regions we are not yet zoologists, we are mere naturalists and collectors of specimens…
…The fact is unfortunate; but we have to accept it, we have to make the best of it. However lowly, the work of the collector must be done, before we can proceed to the higher scientific tasks of classification, analysis, experiment, and theory making…
…Some people never consciously discover their antipodes. Others make an occasional landing. Yet others (but they are few) find it easy to go and come as they please.”
And here, I thought, lay my role ‘Through the Looking Glass’, and thus in art, gifted through a mixture of my ability to ‘disassociate’, enabled by an often horrific childhood, I found I was one of those:
“Few [who] find it easy to go and come as they please.”
…between the normal world and the magical. However as Huxley explains, for those more grounded in the world of tables and chairs and fancies and notions.
“For the naturalist of the mind, the collector of psychological specimens, the primary need is some safe, easy, and reliable method of transporting himself and others from the Old World to the New…
Two such methods exist. Neither of them is perfect; but both are sufficiently reliable, sufficiently easy, and sufficiently safe to justify their employment by those who know what they are doing. In the first case the soul is transported to its far-off destination by the aid of a chemical …In the second case, the vehicle is psychological in nature, and the passage to the mind’s antipodes is accomplished by hypnosis…”
However there is another means, a third far safer means to observe these strange worlds which was overlooked by Huxley, and that is of course through art; A tradition which continues to this day in secret, hidden from the world by the cod-ideology of postmodernism, a cod-ideology thrust upon it by the Fake News media in concert with the Culture Industry, a cod-ideology which has seized control of the Museums, and installed a fake, in art’s place, a counterfeit to interrupt that lineage and to destroy man’s link to the sacred.
Art is the means by which this ancient world of the shaman can be seen in contemporary context, a world in which the barrier between myself and those microscopic worlds I saw as a child had dissolved along with my identity, revealing that which Aldous Huxley described in ‘Heaven and Hell’ as:
“…those living patterns…the visionary world of those endless births and proliferations of geometrical forms that turn into objects, of things that are forever being transmuted into other things…[where] personality is melted down; [and] the individual…ceases to be himself and becomes a part of the vast impersonal universe.”
The second ‘Through the Looking Glass’ referred to in the title of my blog, was and remains the diametric opposite of the first, a closed, cold, dark, dull, boring and dank propaganda world giving imaginary value to worthless works of trash, old furniture, dead animals, petty scrawl, plagiarised icons, wallpaper designs, hare brained notions and retrograde flights of fancy of the over promoted illustrator, leading to a dead-end of gimmicks and recycled pop icons, put through a blender and splattered all over the media in a running joke implemented by a ruthless cabal of opportunists and mountebanks.
Yes, I had unwittingly entered the world of the conman, and worse – the contemporary art world – a topsy-turvy world, in which none of the normal rules of human aesthetics refined over 40.000 years of respect for achievement in the visual realm, apply.
Neither, I found did the rules of respect for anything else.
In fact I found that the more debased and gratuitous, the more a notion is prized however cruel or perverse, hence the more unbelievable, thus the more openly it could be paraded under the noses of the public and the more rewarded were their ‘performing monkeys’, have-a-go-hero stooges unconvincingly playing the parts of ‘artists’ in the enforced absence of genius, operated by remote control of the eminence gricé puppet masters operating Plato’s Cave.
In reuploading all my posts, this journey of discovery can easily be followed by the layman, a journey which is completed by my book ‘The Black Book of Contemporary Arts – The Celebrity Code’.
I had entered a terrifying world in which these talentless buffoons are elevated to unwarranted stardom which they jealously protect, and where the worthless bric-a-brac of imaginary commodities somehow, (enabled by a decades–long campaign of Fake News propaganda in the mainstream media), changed hands for [$] telephone numbers [£] enabling money laundering through an unregulated shadow banking system of shit-art, underwritten with the Nazi terror tactic of zersetzung, held together with a special kind of glue; a glue which only remains stuck, and thus the whole cheating house of cards remains intact, as long as the ‘glue’ is not misapplied slapdash to the ‘WRONG PEOPLE’ innocent people, in drunken hubris.
We hope you find reading my old blog posts in this new format convenient, and for any new readers this will mean that all the content is available in one place.
We have done our best to duplicate the content in exactitude in this migration, however anyone who wishes to see the posts in their previous, native context can, of course, check the blog content against the old at www.archive.org.
In a time in which pseudo liberal doctrine insists all must be tolerant to ‘minorities’, to honour ‘diversity’, to avoid ‘hate speech’, in line with the mass hysteria of the political-correctness of postmodernism; my partner Jenny and I have run the gauntlet, ‘Through the Looking Glass’ of the Culture Industry’s anti-human agenda for the elimination of ‘minorities’ in the form of autonomous ingenious artists, to annihilate ‘diversity’, through ‘hate speech’, and worse, via the Nazi no-touch torture tactic of zersetzung, underscored with lethal violence and with the complicity across almost the entire spectrum of the media mutated into a horrifying schedule obscuring a global atrocity and parading it under the noses of an unsuspecting audience hypnotised with propaganda and then mocked for their ‘gullibility’ via their secret symbolism!
In the ten years, between 2008 and 2018, we instigated and continued our investigations. We have found these people so desperate to guard both the appointed hierarchy of the Culture Industry puppets, the artificially engineered prices of the intrinsically worthless imaginary commodities they produce, and the dark secrets of the cabal such objects signify, that they have attempted to stymie our investigations and any and all competition, through a campaign of interference, hacking, censorship, bullying, gangstalking, threatening graffiti, burglary, sabotage, attacks, smears, deaths of friends, countless threats of ‘framing’ for non-existent crimes, and threats of deaths to us both; even moving their lac[Keys intO apartM]ents adjoining our own!
However it has all been to no avail, as my partner Jenny and myself, having experienced abuse when we were too small to fight back, have freed ourselves in adulthood from being others’ helpless victims, free for them to vent their evil upon us as they please; while we continue to bear scars of childhood trauma, we have broken the cycle of abuse, so rather than use our own experiences as an ‘excuse’ for criminal behaviour we have instead both risen to the top in the skill-set of our consecutive fields, and are devoting our lives to helping others.
For early exposure to horror has made us hyper-moral to the sacredness of all life, and hyper aware of the permanent damage a broken childhood can wreak in adulthood, and just as we would never inflict abuse upon others – we are equally not about to become the prey of the psychopath again, re: the art market – without it being a fight to the very death – a fight in which we are intent on taking down just as many of the bastards with us as we possibly can!
We will always continue to stand up against predators against the weak, and their crimes, whatever the cost to ourselves, even death (and given the number of death threats we have planned for such an occasion with meticulous precision), and doubtless if our lives are lost, our sacrifice will surely rally a flock to our banner which will take root in our blood, and bear intoxicating bitter-sweet fruit of vengeance for generations to come!
There can be no better way to die than in the fight against such heinous tyranny in defence of the weak.
Accordingly we have done our very best to salvage a future for the arts from the wasteland which currently besets us, and in turn help enable the rescue of those suffering in the silence of a media blackout, in the corruption of its demise, for come-what–may, we have, over the last decade, meticulously utilising the energy in fury at our own trauma, constructed from the wreckage of our own shattered lives, and our deep insider knowledge of the ways and means of the art market, a legacy of awakening, gifting planetary consciousness with the ability to ‘join the dots’, separating the inconsistencies of our carefully appointed culture and media, in order to reveal the truth in a way that can be coherent to all, including even to the most closed-minded, envy-addled and blue-pilled.
Such an accomplishment, such a legacy, will strike the terminal blow to the media who have supported this hoax and leaves a sense of pride in how we are living our lives that no-one can ever take from us come what may.
A keen reader of non-fiction since I could set my eye upon a page; onwards and ravenously I have consumed the knowledge of thousands of books across the range of human experience, and have also taken delight in writing especially on the correlation between aesthetics and transcendence.
Always however I preferred to paint, which, through inborn virtuosity meant I could conjure things into form no words could ever describe…
…and while this is a course I follow, little did I know, in my unswerving lifelong secular scepticism of my innate rationality, that the sacred universe of a ‘God’…
…or whatever else you wish to call that ‘system of checks and balances.’
…Gurdjieff describes, manifested in an endless series of synchronicities of utterly incalculable odds, occurring almost daily in mine and Jenny’s road of trials, and leading to a subsequent epiphany as to the role the universe seems to have appointed to us regarding the hidden nature and exact methodology of the global hierarchy, synchronicities which have enabled us with massive intel, equipped us with magical weapons and led our journey and return to the world with the boon of knowledge for our fellow man, to humbly enable a specific duty within a broader plan engineered by an unlikely global alliance comprised of silent soldiers in a quiet war.
For unknown to us there were many others who had looked upon the world, and its effects on the people, on the ecosystems, with similair disgust, disdain and plans to remedy the situation.
There were others gifted with enduring vision who had been working for decades longer than ourselves , with a thirst borne of the utmost dignity who foresaw the potential for the end of the corruption.
… – and who planned to put a stop to this encroachment of totalitarianism.
To those waiting for the release of ‘The Black Book of Contemporary Arts – The Celebrity Code’, please understand that we cannot drop all that info without first publishing and distributing the finished Propaganda Watchdog protocol in multiple formats, including in website form.
This will equip the advance guard and following masses with the protocol and thus with the relevant hashtags and a ‘READY RECKONER’ to virally flag, categorise, neutralise and debunk ANY ATTACK whether deflection, strawman and distraction etc. and hence use the pre-existing ‘glitter and kitten’ (#glitten), superpower of MSM celebrity cult in union with attacks on The Celebrity Code as mimetic jujitsu, enabling a gamifying ‘supercharge’ to BREAK THE SPELL and propel a mass evacuation of the hitherto uninitiated, headlong and ultra-eager on the tricky climb up the learning curve required in the understanding of propaganda with which to neutralise inevitable Mockingbird media attacks on the truth of The Celebrity Code and thus enable viral deconstruction of the mediascape.
The continued suicidal arrogance and counter-intuitive publicity-rhetoric of the psychopathic cabal in pursuing their sport of symbolism until the bitter end, despite the game being so obviously up, will merely serve in propagating mass red-pilling through adjustment of understanding in a contagious en-masse leap of intuitive insight, enabling their compulsive and pathological setting up of a real-time trail of clues enabling the use of Propaganda Watchdog as a celebrity social-media truth-boomerang pointing to real world events, both current and historical, to continue organically on from those revealed in the book, thus snowballing the mimetic red-pilling process into a global movement of discovery enabling a personal ‘hero’s journey’ of discovery in each participant empowered in inverse proportion to the MSM/TECH’s desire to discredit The Celebrity Code and the Propaganda Watchdog!
These manoeuvres will in actuality employ those attempting to neutralise, distract from or otherwise attack The Celebrity Code or the Propaganda Watchdog, and the hitherto hidden heroic and horrific truths it reveals, into unwitting participants in offering opportunity for exposing their own Modus Operandi, through the logical and organic contagion of the PW Protocol in its’ application to their emissions, thus horizontals of propaganda classification will exponentially join verticals of individuals and organisations, i.e. the newbie goes to swat a fly and finds the ‘big game’ lurking in the swamp.
In fact every single attempts of any non-initiate, media acolyte, celeb, propagandist or fan to refute the solid evidence that shatters their world view/ideological integrity will enable a golden opportunity in real time for this attractive game of I Spy alluring to both initiates and ‘normies’ and vital in red-pilling to force erronious belief in the lie into truth via the Propaganda Watchdog CONSCIOUSNESS ENGINE linking of the celebrity propaganda usage in question to all other uses, thus incrementally opening the Overton Window…
…propelling millions of mental ‘prisoners’ of cabal brainwashing out of Platos Cave AT THEIR OWN COMFORTABLE PACE WITHIN THE ORGANIC MOVEMENT and into the LIGHT…
…at which point they can incrementally absorb truth at their own chosen speed, and be guided BY THE EVER-EXPANDING, INFINITELY CUSTOMISABLE, ‘READY RECKONER’ OF THE PROPAGANDA WATCHDOG PROTOCOL in sorting the ‘wheat from the chaff’ in the quest for truth, utilising the protocol, which they can of course amend and add to (with other systems currently being built) as they see fit AND BECOME RESEARCHERS/VOICES THEMSELVES.
“The cave you fear to enter holds the treasure you seek”.
WE ARE ALL THE FUTURE OF NEWS!
This Propaganda Watchdog protocol work has been refined to encompass every possible aspect of human experience in propaganda analysis and to include every possible channel of influence and coercion into one simple formula. A consciousness engine into which is fed information and which is deconstructed and mapped utilising a descending heirarchy of complexity to enable comprehensive and viral, open source analysis to power a planetary consciousness expansion-working alongside and actualising the efforts of others working along similair lines in a search for prosperity, happiness and freedom for all.
But first we have to confront the shadow aspect of humankind as an extistential threat hiding in plain sight:
We are led by the universe, through our torment to this path of wisdom we must now share. As a result the Propaganda Watchdog is being refined and uploaded with the best speed we can possibly fulfil to produce this gift.
To be continued…