Celebrity Vice Signalling
“How wondrous this wall-stone, shattered by Fate;
Burg-places broken, the work of giants crumbled.
Ruined are the roofs, tumbled the towers,
Broken the barred gate: frost in the plaster,
Ceilings a-gaping, torn away, fallen,
Eaten by age …
Bright were the halls, lofty-gabled,
Many the bath-house; cheerful the clamour
In many a mead-hall, revelry rampant –
Until mighty Fate put paid to all that …”
Exeter Book -8th Century Saxon Poet remarking on Roman Ruins in Britain [quoted in Magnassun: 1980 125] via Tainter- The Collapse of Complex Societies
“There is a point….at which aristocrats begin to look foolish in rags”.
What is Vice Signalling? April 14, 2016 by bsixsmith
After 40,000 years which has seen accomplishment through endeavor as the cultural currency of mankind, in this postmodern age of political correctness, moral relativism and identity politics it has been replaced by a ‘short-cut’, a form of ‘cheating’, virtue signalling is a shorthand for sentiment, an almost effortless, but now extremely risky way for the mountebank to regulate public opinion, silence the conscience, and to implement strategies of coercion, and while overtly ostentatious, it is used by corporation, celebrity, and certain among the general public alike and duly emblazoned across the media and social media daily, being a short-cut which requires none of the morality or decency of accomplishment. The Oxford Dictionary defines virtue signalling as:
“…the action or practice of publicly expressing opinion or sentiments intended to demonstrate one’s good character or the moral correctness of one’s position on a particular issue”
Those not indulging in it, are by-and-large, sick of it, amongst a public with trust in the media as low as 6%, countless blogs condemn virtue signalling thousands on video sharing sites denounce it, and incalculable comments on an entire range of websites decry it, forming a cacophony of mystified anger, from a tormented throng, bemoaning the shallow platitudes replacing culture with hokum.
One would think in such an atmosphere of public opprobrium with the status quo of banality, that alternatives epitomising a return to accomplishment through endeavor would be heralded by the news organs, however this is emphatically not the case, despite near-universal dissent it continues unopposed by any serious alternative. Why?
Well to understand what is going on we need to acknowledge that virtue signalling has a secret counterpart – celebrity vice signalling a terrorist tool hiding in plain sight unwittingly witnessed daily by millions who are duped into false perceptions of some of the world’s most famous celebrities, a phenomenon which has weaponised the mainstream media and social media as a secret armament in an organised crime racket- vice signalling is another phenomenon which is equally important as virtue signalling in the regulation of the mediascape- an attempt to intimidate targeted individuals, and spread terror across the traditionally skilled community of artists!
Vice signalling is, the visible tip of an iceberg of a totalitarian bureaucracy which has frozen the progress of the arts into its meaningless mechanical detritus of flotsam and jetsam in order that it continue just the way is, despite the near –universal disinterest, and at best disgust and loathing, except from within a minute incestuous clique of mutual self-interest who use contemporary art to regulate human thought, launder money and parade its’ dismal offerings as a heuristic to signal imaginary virtue.
Despite being emblazoned across the media and social media daily, celebrity vice signalling, a salacious celebrity sensation of sinister secret codes and spiteful victimisation remains almost entirely unidentified, however that is about to change, especially in respect to its’ regulation of the visual arts, the strand of expression which has seen vice signalling reach the pinnacle of its’ joyful sadism. Welcome, to my new rebuilt website.
Jonhammer.com has been reconstructed to serve as an depository and an archive for the array of art I have created throughout my life, to showcase peripheral materials pictures and information and to serve as a platform to expose the annihilation of traditionally skilled art. Thanks to my girlfriend Jenny for building the site!
I felt that showcasing my humble beginnings through my evolution as a graffiti writer to my accomplishments in the virtuosity of classical oil painting would demonstrate the continuation of modernism in the evolution of grassroots contemporary art, in the context of its’ suppression through the spurious cod-ideology of postmodernism, in which celebrity vice signalling may be the most audacious and extensive example of fake news, for it has increasingly colonised the media and thus planetary consciousness for nearly thirty years- since the beginning of neoliberal economics and has become increasingly aggressive through its attacks on autonomous grassroots art, thus posing a grave danger to humankind and civilisation itself.
It is difficult to comprehend for those, unaware of the all-consuming jealousy of the pathological entity of demented mediocrities encouraged to run wild in the arts, quite how such an innocuous, time honoured and peaceful pursuit as painting with virtuosity, could warrant such ferocity in its opposition.
As a traditionally skilled artist all I ever wanted to do was paint and share it with those who might like my work, as is my democratic right enshrined in the Human Rights Act, but in doing so I have inadvertently encountered an evil so heinous and so institutionally ingrained in our society that it sneers in sadistic arrogance, deriding the general public from a bubble of elite privilege and state sponsorship.
So upon encountering vice signalling, as an encoded celebrity phenomenon of subjugation, weaponising the media in attacks on targeted individuals, including myself, and flaunting racism, derision and braggadocio, I have spent almost a decade researching and writing up the untold story of this institutionalised pageant of pathological derangement, in my unintended capacity as a non-fiction author, in my isolated state of having this unique insider knowledge both of the hitherto unexposed world of celebrity, and underground art, exposing the methodology of a phenomenon which has colonised art and media institutions, and destroyed traditionally skilled art under the cover of a news blackout in which two artists who defied the fabricated hierarchy have died in mysterious circumstances, their deaths heralded by vile symbols and censorship, enacted by a phenomenon of online gang stalking using a grammar of symbolism and covered up by media complicity.
This atrocity has been committed with the apparent intention to eliminate competition in the form of traditionally skilled art, through a campaign of terror in order to protect the hierarchy of the contemporary art market, and thus protect financial investments in the imaginary commodities of conceptual art, and the range of public awareness, from unwanted intrusions from awareness of the work of traditionally skilled artists that may devalue the said investments by their very existence – a totalitarian situation teetering on the brink of hubristic optimism.
This practice of vice signalling, is inevitably combined with “virtue signalling”, often in the same transmission, which means that virtue signalling acts as a moral cover so that the secret message does not draw attention to itself, and is only perceived by either those in league with the issuer i.e. their handlers, colleagues and fellow travelers in the media, or those targeted individuals and their fellow travelers, such as myself and my fellows who are in conflict with the contemporary art market through our very existence as artists.
Celebrity vice signalling is a term which I coin here for the first time as a preliminary definition of a universal phenomenon which is open to discussion and revision, but which I define from my own experience as a form of psychological warfare which has weaponised the mainstream media and social media with terrorism enacted in the action or practice of publicly expressing opinion or sentiments intended to demonstrate one’s evil character or the immorality of one’s position on a particular issue in particular with regard to the goals of globalisation in contemporary arts with regard to the standardisation of markets as outlined by Levitt; and while vice signalling may be occasioned openly by key individuals in acts of open bravado, this is most often implemented through secret messages express by celebrities and pseudo-celebrities by the use of symbols which are broadcast in the media and on social media using steganography:
…an implementation which the Oxford Dictionary defines as: “The practice of concealing messages or information within other non-secret text or data.”
“How can we know that a bunch of roses signifies passion unless we also know the intention of the sender and the reaction of the receiver, and the kind of relationship they are involved in? If they are lovers and accept the conventions of giving and receiving flowers as an aspect of romantic, sexual love, then we might accept… [this] interpretation. But if we do this, we do so on the basis not of the sign but of the social relationships in which we can locate the sign… The roses may also be sent as a joke, an insult, a sign of gratitude, and so on. They may indicate passion on the part of the sender but repulsion on the part of the receiver; they may signify family relations between grandparents and grandchildren rather than relations between lovers, and so on. They might even connote sexual harassment.”
Dominic Strinati- An Introduction to Theories of Popular Culture – Routledge (Strinati 1995, 125).
…as celebrity vice signalling so often does!
Thus the surreptitious ‘payload’ of the vice signal is enabled by using secret symbolism hidden in apparently innocuous, and thus often inexplicable cover stories seen by millions, and used to transmit the secret message, and which can range from boasts of secret allegiances to extremist ideologies, in contravention to their public personas, to personal vendettas against we artists perceived as enemies, just by our mere existence as autonomous traditionally skilled artists who are blacklisted from exhibiting, censored from the media and, if we dare to show our work autonomously and speak out about the contemporary art establishment either die in mysterious circumstances or are persecuted by the celebrities and gangs of thugs.
This is carried out with the purpose to invoke terror in targeted individuals designated as enemies by the Establishment elite by using celebrity vice signalling as a weapon in conjunction with the Nazi/Stasi psychological torture schedule of zersetzung a form of trauma-based mind control designed to mimic the effects of schizophrenia and psychosis and described by the Stasi as:
“[The] targeted spreading of rumours about particular persons with the aid of anonymous [means]… making compromising situations for them by creating confusion over the facts… [and] the engendering of hysterical and depressive behaviors in the target person.[…] designed to “develop apathy (in the [targeted] subject)”… to achieve a situation in which his conflicts, whether of a social, personal, career, health or political kind are irreversible… to give rise to fears in him… to develop/create disappointments… to restrict his talents or capabilities… to reduce his capacity to act and… to harness dissentions and contradictions around him…”
This is combined with murderous violence, herein lies the secret of the ‘success’ of many household names , for participation in this new celebrity form of ‘dog whistle politics’ to signal aspects of the totalitarian nature of the Culture Industry would appear to be rewarded with media exposure, promotion and advertising contracts with global brands, apparently in return for the celebrity involved in the terrorism and often their talentless and gormless offspring, who often also partake!
In fact to key names, desperate and talentless, zersetzung has become the family business!
The more heinous the transmission, if discovered for its’ true nature, and thus the more risk borne by the communicator in making such covert threats, the higher the value of the vice signalling issued into the mediascape in maintaining the Establishment- approved hierarchy, and thus the more the individual is regarded and rewarded within the pathological politico-corporate nexus of the Culture Industry, using the old totalitarian tool of the ‘workbook’ in which rewards are issued in line with cooperation of the more unsavory aspects of the regime’s modus operandi.
This is manifest often in the form of a death threat, or warning which is hidden in an apparently innocent action of a celebrity or pseudo-celebrity, often from those representing the contemporary art market who have themselves spuriously taken on what bsixsmith describes as:
“…high status [roles in the public eye as] “original” and “iconoclastic” – an “outsider”, a “maverick” and a “contrarian” – opposing the “mainstream”, the “conventional” and the “status quo”.”
…and who boast of violence, murder and other harm using secret code to reinforce real world stalking and violence against targeted individuals, especially we who really have:
“…high status [roles as] “original” and “iconoclastic” – an “outsider”, a “maverick” and a “contrarian” – opposing the “mainstream”, the “conventional” and the “status quo”.”
…and are thus blacklisted from the contemporary art market!
This is a system which is inversely proportional to the general intuitive perceptions of mankind who, in our inherent rationality hitherto unenlightened to the moral bankruptcy institutionalised in the Establishment elite, err upon the option that those in power could never really be so depraved, so decadent, so sadistic and those enabling it so willing to collaborate.
The term vice signalling has been previously been defined by bsixsmith as:
“[An] attempt to position [oneself] as underdogs speaking truth to sinister elites.”
Pointing out that:
“Once, “subversive” would have been an accusation. Now it is liable to be a compliment. […]”
“Hierarchy still exists, of course, and dogma abounds, but every intelligent person signals against it. To be high status is to be “original” and “iconoclastic” – an “outsider”, a “maverick” and a “contrarian” – opposing the “mainstream”, the “conventional” and the “status quo”.”
“What makes for effective vice signalling? It must present a clear distinction between a dissident and principled ingroup and a dominant and corrupt outgroup. It must exploit genuine grievances with the establishment. It should be characterised by charisma and wit. It should offer at least the hope of making progress. All of this makes one’s vice signalling appear high status. It makes one attractive and imitable.”
Which, while true, is emphatically not vice signalling, it is instead a new form of:
“…the action or practice of publicly expressing opinion or sentiments intended to demonstrate one’s good character or the moral correctness of one’s position on a particular issue”
…that’s right its virtue signalling hence it is used by sophisticated PR firms working on behalf of that:
“sinister elite [of a] a dominant and corrupt outgroup…”
…producing ‘Plain Folks’ propaganda to create a ‘controlled opposition’, pretending to represent a:
“…principled ingroup [in order to] exploit genuine grievances with the establishment…”
This kind of propaganda is a staple of totalitarian organisations. For as Lenin said:
“The best way to control the opposition is to lead it ourselves.”
This has been achieved in contemporary art by that other totalitarian tool the ‘cult of personality’, in a cast list of zeroes, using micromanaged, scripted and contrived ‘celebrity’ in order that the subject be:
“…characterised by charisma and wit…[to]…offer…the hope of making progress.”
And so in their appropriation of:
“…high status [roles in the public eye as] “original” and “iconoclastic” – an “outsider”, […] – opposing the “mainstream”, the “conventional” and the “status quo”.”
…in their glee that that they have taken on the roles of those who are genuinely a:
“…principled ingroup [with] genuine grievances with the establishment…[who are]… “…high status [as] “original” and “iconoclastic” – an “outsider”, […] – opposing the “mainstream”, the “conventional” and the “status quo”.”
…and who are thus:
“…characterised by [the] charisma and wit…[to]…offer…the hope of making progress.”
…revel in sadistic delight at their ‘accomplishment’, through steganography in the mass media, which is about to be exposed, come hell or high water.
For while bsixsmith correctly asserts that:
“Vice signalling exhibits one’s transgressions. This need not entail…sex and violence – though it can, of course, depending on the circles that one moves in…”
He is, in fact, incorrectly attributing the label of vice signalling to plain folks propaganda as used by the controlled opposition and Establishment elite, to virtue signal:
“By using the plain-folks technique, speakers attempt to convince their audience that they, and their ideas, are “of the people.” The device is used by advertisers and politicans alike.
America’s recent presidents have all been millionaires, but they have gone to great lengths to present themselves as ordinary citizens. Bill Clinton ate at McDonald’s and confessed a fondness for trashy spy novels. George Bush Sr. hated broccoli, and loved to fish. Ronald Reagan was often photographed chopping wood, and Jimmy Carter presented himself as a humble peanut farmer from Georgia.
We are all familiar with candidates who campaign as political outsiders, promising to “clean out the barn” and set things straight in Washington. The political landscape is dotted with politicians who challenge a mythical “cultural elite,” presumably aligning themselves with “ordinary Americans.” As baby boomers approach their sixth decade, we are no longer shocked by the sight of politicians in denim who listen to rock and roll.
In all of these examples, the plain-folks device is at work.”
This misunderstanding indicates bsixsmith is unaware of the existence among certain key celebrities who practice this deception vice signal as a revelation of their true nature, however he correctly states:
“Vice signaling exhibits one’s transgressions. This need not entail … sex and violence – though it can, of course, depending on the circles that one moves in.”
…a phenomenon of steganography peculiar to celebrity vice signalling, which is targeted specifically at those who are:
“…characterised by charisma and wit…[to]…offer…the hope of making progress.”
…such as myself and who, by the simple fact of our very existence utterly negate their entire false contrivance of contemporary art. I would thus proclaim that vice signalling has not been correctly identified, until now…
For it is usually implemented while espousing extremist political allegiances and group supremacism, or mocking the public’s gullibility in falling for the con while surreptitiously representing the contemporary art market with the effect that the hidden message, while spread globally in the media is only be perceived by those in possession of the shared secret, in this key case, that the contemporary art market, and certain sections of the culture industry are consciously and overtly totalitarian, engaged in violent stalking against targeted individuals and our loved ones, and like to boast of this violent authoritarianism, a phenomenon characterised by the gleeful sadism of narcissism and the gloating psychopathy of group supremacism.
This atrocity is covered by a counterintuitive screen of identity politics and political correctness, a screen about to be torn down to reveal the traitorous truth, of its existence as a political shield behind which the most heinous crimes are carried out, and thus cynically exploiting the causes of oppressed minorities cruelly rendering them as useful idiots to further the life-blind lockstep of neoliberalism and globalisation as it decimates fragile ecosystems, human and otherwise.
Hopefully when made aware of this reality the corporate world will do the right thing.
Thus the Establishment elite and media have engaged in a maneuver which is utterly counterintuitive to the general public, for nothing satisfies the narcissistic consciousness of the deranged elite like the feeling of hiding utter deviance in plain sight, a stunt which has been overplayed to the point at which it can no longer be sustained, despite the best efforts of charm offensives intent on its amelioration, and its undoing is a task I begin here with this blog post, and which is continued with my book in which I explain that:
“… now that fox hunting has been banned in the UK, we find there is a brand new diversion for the privileged class and the ruling elite; hunting we the most enigmatic and individualistic, prodigious peasants, by murdering, torturing, baiting, hunting, attacking and destroying Britain’s most pioneering artists[…]and hiding nauseating symbolism referring to this jolly ‘game’ of the Establishment elite in plain sight of the public, [which] has become the latest blood-sport for the wealthy and privileged usurpers…”
…a phenomenon which can be excavated and virally analysed in its current and historical manifestations by the Propaganda Watchdog organisation I have founded.
This phenomenon of celebrity vice signalling needs to be formally identified and called out, in order that it can be suitably recognised for what is, and democracy in the creative arts be re-enabled, for the continuation of civilisation itself rests upon the potential for autonomy in the arts.
Finding a solution to expose its duplicity has led also to my unintended capacity as a web innovator and the subsequent formulation of a new social network capable of analysing not only celebrity, but all communications, from news to advertising to entertainment and sport, in a new web protocol being developed independently with no corporate backing, no political or social affiliation or agenda apart from truth, honesty, transparency and accountability, at PropagandaWatchdog.org
This is needed in order to enable an understanding of virtue signalling and vice signalling, so this spectacle can be understood in the historical context of past propaganda so the world can see how the exact same tactics used in Soviet Russia:
…and Nazi Germany:
…and which resulted in the deaths of hundreds of millions, are alive and well in 21st century Britain, Europe and America:
…but updated to a new age of technology.
Since putting my site back online and tweeting it on 28th August 2017, before releasing these projects and thus prior to any significant traffic, we have been fixing the typos, errors, omissions, erroneous image ordering and alignment and other glitches and attempting to fix cross platform compatibility issues – some of these issues are still outstanding, as we continue to sift through boxes of archives and turn up, dust off, and photograph more material, which we will continue to upload…
Much of our early traffic has been dedicated to attempts in taking us offline, we had over 300 critical attacks in the three days after putting the site online which just further demonstrates that we are doing everything just right, for my story presents absolute proof that the spurious postmodernism, the dominant ideology of the late 20th and 21st centuries is, through its proclamation of relativism, the idiotic notion that there is no such thing as objective truth, which justifies its’ denial of beauty, meaning and ingenuity in art, and thus in individuality and genius in humankind, is merely totalitarian propaganda, a point proven unequivocally by the phenomenon of celebrity vice signalling in its application as a terror tool, which is being persecuted with ferocity, flaunted and boasted of in innumerable references to postmodernism’s totalitarian actuality, by using surreptitious symbols of, and references to, previous totalitarian regimes.
This con is carried out under a protective cover of virtue signalling, identity politics, and political correctness, which enables Grayson Perry, Charles Saatchi’s favourite potter, to describe the situation as:
“…a conspiracy of silence in the art world”
…and which the Daily Mail and the BBC’s John Humphrys describe as:
“[A c]on-artist[‘]s…conspiracy that makes ‘worthless’ art by Damien Hirst and co sell for a fortune.”
Herein lies the methodology of its temporary success, and the seeds of their impending doom, for this counter intuitive chasm that anyone could be so vindictive and malicious especially to an artist, humankind’s most treasured beings, is the main method of protection of the elite.
This innate disbelief, that any celebrity (or wannabe) could be so depraved to engage in such heinous tactics to control the arts, forms a virtual invisible castle wall of consciousness.
However it is easily spanned by a simple leap of insight gained through learning the facts, so this illusion is a spell easily broken in these times of mass awakening to the reality of the mainstream media, the machinations of the Culture Industry and thus the fallacy of the so-called ‘postmodernism’ and those opportunist usurpers institutionally isolated by the echo-chamber of their nepotistic group-supremacism, for it is difficult for them to gauge just how far they have veered into the realms of the intolerable in their continued grandiose delusions of immunity, for deviance in this form has been positively encouraged, entire careers have been built on its’ ‘too big to fail’ delusion, a ludicrously optimistic assumption which has been cultivated through decades of unquestioned media supremacy, cloaked by the machinations of propaganda the false security of the closed-feedback loop of the ghetto of wealth which they inhabit, protected by false confidence in the over-compensatory allure of rampant virtue signalling which attempts to hide vice, and which has been spectacularly discredited before, for just as in postmodernism:
” Nazi theory indeed specifically denies that such a thing as “the truth” exists. … The implied objective of this line of thought is a nightmare world in which the Leader, or some ruling clique, controls not only the future but the past. If the Leader says of such and such an event, “It never happened” – well, it never happened. If he says that two and two are five – well, two and two are five…
…This prospect frightens me much more than bombs.”
With the impending dawning of the awareness of the Establishment elite’s totalitarian modus operandi of vice signalling through my book and the Propaganda Watchdog, their true nature is easily awoken to by the simple application of open minded inquisitiveness on the part of a public with trust in the media as low as 6%, a public equipped with a brand new web protocol, and a public with a will to quench the parched curiosity of an perplexed community to the existence of a vile celebrity secret code emblazoned across the media, in order that they may learn through salacious celebrity steganography, something solid and sordid and which answers the inevitable questions in these days in which the hitherto inexplicable posturing of the corporate culture of mediocrity in the contemporary arts and much of the culture industry has become utterly mystifying to millions.
This stands to enable an opportunity in demonstrating once and for all, the utterly illusory nature of the fake news mediascape, and the utter contempt held for the masses, by those celebrities of the Establishment elite, who hide their vile crimes behind the flimsy relativism of postmodernism, with the assistance of the hitherto complicit media who enable their atrocities, and who need to decide whose side they are on, if they wish to hang on to a modicum of credibility.
Welcome to the future. Ha ha!!