In the early 19th century, people became more familiar with the political design projects of the deep states. With the passage of time, as Internet use grew, and information and communication technologies expanded, many “supposedly” conspiracy theories turned out to be right about the real goals behind ostensible daily policies.
This aside, political design is only one of the complex instruments of the aforementioned deep power. Apart from political design, there is also the “psychological design,” which lays the social groundwork of the political design, and that has not adequately come to light yet. The most fundamental methods of this psychological design are the campaigns of indoctrination and propaganda carried out by all kinds of communication means such as media and social media, subliminal messages and subliminal reconstruction.
One of the most effective instruments psychological design employs in subliminal reconstruction is the form of art called the “hideous art.” The hideous art has infiltrated into all forms, such as painting, sculpture, cinema, documentaries and literature.
The hideous art sympathizes with murder, suicide, themes of aggression and violence; disgusting, gloomy and hideous elements, and obscenity such as homosexuality by depicting these as natural, and even commendable.
For example homosexual propaganda through hideous art extends back to the works of painters and sculptors of the Middle Ages. Looking at such works, once it is carefully examined, what looks like a female figure at first sight is actually an outright portrayal of a male homosexual. Gian Lorenzo Bernini’s “Sleeping Hermaphroditus” sculpture; Caravaggio’s “The Musicians”, “Boy with a Basket of Fruit”, “The Lute Player”, “Boy Bitten by a Lizard”, “Bacchus”; the sculptures of Donatello, Cellini, all known for their homosexuality, are the best known examples of such perverse portrayals.
In these works, figures with an attractive female appearance, are in fact “young boys with feminine figures,” featuring the perverse relations among young boys as natural and attractive at the subliminal level.
Along with homosexuality, the hideous art also uses horrific themes such as homicide, massacre, horror, violence and suicide. There are hundreds of works with these horrific themes. Some of the examples are: Finnish painter Peter Paul Ruben’s painting “Massacre of the Innocents,” Italian painter Artemisia Gentileschi’s painting “Judith Slaying Holofernes,” French painter Jean Joseph Weerts’ “The Assassination of Marat,” English Painter John William Waterhouse’s painting “The Danaides”, which depicts 50 women murdering their husbands in a night, the Czechoslavakian Jakub Schikaneder’s painting “Murder in the House.”
As important psychological means of indoctrination, these and similar works are also frequently and extensively used in our day in presenting all forms of perversion as normal and spreading them to the masses by television programs, movies, social media and all forms of communication means.
In the 20th Century, the hideous art was more than ever featured especially in the works of the French painter and sculpture Marcel Duchamp under the name of “modern arts.” With the avant-garde conception of art, aesthetics, in other words the appreciation of beauty, which is the most important element of arts, ceased to be a criterion for arts. With movements such as Dadaism, Surrealism, neo-Dadaism and Arte Povera, ugliness, nastiness and unaesthetic concepts found their place in arts. Bacon’s “Autoportrait,” in which he depicted his face under a distorted, monster-like mask, is just an example. The Kitsch movement, which is based on an unaesthetic approach, and its followers conveyed nastiness and banality into contemporary arts.
In the 1980s, inspired by the Bulgarian philosopher Julia Kristeva’s concept of the abject, a period came when even all forms of bodily waste were used as materials for so-called arts. In this period when nastiness and ugliness were involved in arts with all their aspects and beauty and aesthetics were destroyed, hideous art almost reached its peak-point.
Hideous art is one of the important elements of psychological design. Indeed, no matter how strong and influential military and political methods may be, they remain to be insufficient as long as societies and minds are not captured. Right at this point, social engineering takes its place for transforming people into some ‘desired mindset and personality’ through subliminal methods. The easy targets for this inculcation are:
– Defeated, timid, withdrawn, hopeless, pessimist, disheartened masses that are deprived of an ideal and senses of belonging;
– Journalists, authors, academicians, directors and politicians who have lost their national, spiritual and cultural values’
– Self-seeking, selfish and egoistic people who do not question what is right or wrong, but may venture anything just for power and wealth;
– People with sick, schizophrenic souls who take a sadistic pleasure in violence and murder.
These people can easily be misled and manipulated. These are the kind of people who lack character and thus readily sacrifice their homeland, nation, family and their closest friends, and may even commit all kinds of espionage. They incline to all acts of aggression and hatred, and thus are exploited in assassinations, massacres and acts of terrorism.
By methods of psychological design, the deep states of the world continues to recruit such type of corrupted people. Consequently, this psychological war against good morality and values of love and compassion waged under the cloak of hideous arts must be exposed unswervingly. It is vitally important to explain to the masses that the hideous art is not a natural part of artistic quality, but a part of a special, systematic and organized program designed to corrupt the spiritual and cultural texture of societies, to blind the souls of people, destroy their values and reconstruct them on the subliminal level.
—The author is a prominent Turkish writer and activist. He blogs at: www.harunyahha.com