The Climate Change Hoax:
Banksy Contributes Yet Another Piece of Establishment Agitprop
“The Foundation of Empire is Art & Science
Remove them or Degrade them & the Empire is No More…”
-William Blake (1757 – 1827)
There’s a common saying across the internet these days: “Get woke, go broke.” The phrase acknowledges when a business emphasizes Social Justice Virtue Signalling instead of producing quality results, the bottom line will suffer.
Joining the Orwellian flock of conforming sheep, bleating out allegiance to the latest leftist trends, leads to annoyed audiences and alienated consumers. No healthy business actively seeks to piss off big parts of its customer base, but it’s been happening with increasing frequency for years. It’s gotten so bad even major corporations are serving notice they will no longer run their operations with efficiency and competence, but will squander resources chasing the ever moving goalposts of social engineering. Blame our Postmodern establishment, which has degenerated into acting as enablers and enforcers for the totalitarian left. Their abuses have warped many professions, especially the arts.
Art is not about money. Or at least real art isn’t, despite the manipulations and miseducation practiced by our current corrupt arts institutions. They exterminated ideals of quality and skill from art, so price tags act as a stand-in for measuring achievement. But a shady and inflated purchase price doesn’t add integrity to a work of art; it definitely can’t change non-art into an actual artistic accomplishment.
Postmodern partisans control the mass communication purse strings. They make sure only the ideologically pure get funding and exposure. Support is possible as long as an artist parrots the approved talking points, or fits into the favored diversity check boxes.
So assuming the money aspect gets covered by submitting to political expectations, are compliant artists then able to create meaningful, evocative artwork?
No. Even with a monopoly over cultural expression, the skewed messages favored by our self-appointed creative class censors are failing to connect, even with sympathetic audiences.
Take the relentless Climate Change Hoax, and how a 2015 art show bent the knee to it.
I’m 50 years old, and for my entire life I’ve been hearing we are teetering on the brink of an environmental catastrophe which never actually arrives. As supposedly urgent climate deadlines go whizzing by, the nature and timing of the threat constantly mutates, but the remedy is always the same: the people must sacrifice comforts, wealth and freedom so the New Aristocracy of the Well Connected can keep living the high life. ,
The graphic timeline below charts more than my whole existence, and lists just some of the erroneous claims made by the Mean Greens:
Seriously people. Looking at these 50+ years of fail, it can’t be any clearer. The predictions aren’t accurate. The models don’t work. The fears are unfounded.
It’s a plot to grab money, attention, and power. These schemers hate any part of humanity they don’t see when they look into their own mirrors. They are indifferent to the suffering they would unleash, as long as they get to be in control. Get a load of this poor brainwashed thug-in-the-making:.
Doomsday Addams Wants You to Stop Breathing Right Now. For the Children.
Does this look like someone manifesting long term planning, reason and compassion? Or is the face of someone who can’t wait to segregate us into our assigned cattle cars?
“Climate Change” isn’t science. It is mass hysteria and rent-seeking disguised as an emergency. The Progressives intend to progress us right back into the Dark Ages.
Art got recruited to be part of this charade in 2015, at the United Nations affiliated ArtCOP 21 event in Paris. “Climate is culture!” the bureaucratically engaged creatives cried, instead of recognizing that culture is culture, and climate is weather.
A Horse Is a Horse, of Course, of Course?
Take the example of this participant, performance artist Marion Laval-Jeantet. Her “art” is described as:
Marion Laval-Jeantet allowed herself to be injected with horse blood plasma containing the entire spectrum of foreign immunoglobulins (following several months of precautions to build up her immune system). after the transfusion, the artist performed a communication ritual with a horse while wearing prosthetic horse-like stilts before her hybrid blood was extracted and freeze-dried…
“I had the feeling of being extra-human, I was not in my usual body. I was hyper-powerful, hyper-sensitive, hyper-nervous and very diffident. the emotionalism of an herbivore. I could not sleep. I probably felt a bit like a horse.”
Doctor Moreau, call your office. Thank goodness we have such paragons of science hyper-involved in the arts! What this actually has to do with climate, I couldn’t tell you, but surely she got paid to make this madness happen. Horse-like stilts are probably very expensive.
What is interesting is that a study was done of how the various artworks at the climate change carnival influenced the viewers. Not too much, it seems. Artnet explains:
Can Art Change Minds About Climate Change? New Research Says It Can—But Only If It’s a Very Specific Kind of Art
Only three works out of 37 left viewers feeling inspired to take action.
Researchers have found that art on show in Paris during the 2015 United Nations climate change summit did change people’s feelings about the environmental crisis, but only if it contained a hopeful message.
In a new paper published in the journal Psychology of Aesthetics, Creativity and the Arts, Laura Kim Sommer and Christian A. Klöckner of the Norwegian University of Science and Technology have identified a narrow set of parameters for what makes activist art effective in altering public opinion.
The study surveyed 874 visitors’ reactions to works on view at the ArtCOP21 climate change festival, which saw artworks scattered throughout the city of Paris to coincide with the World Climate Change Conference. It looked at their emotional reactions, the relevance of each work of art to their daily lives, and how much the works inspired personal reflection or action, according to Pacific Standard. Based on the results, researchers were able to divide the show into four categories: “the comforting utopia,” “the challenging dystopia,” “the mediocre mythology,” and “the awesome solution.”
To the researchers surprise, the participatory works on view did not have much effect on visitors. “It did not make them reflect much on their own role within the climate crisis or the consequences a changing climate would have for them,” Sommer told artnet News in an email. “It just gave them a sense of belonging, which is why we called it the ‘comforting utopia.’ I was expecting that offering people a way to participate would lead to more engagement. But it seems that people want to be made aware of something awe-inspiring by someone that thinks differently, rather than be part of the creative process.” [emphasis mine]
So let me get this straight. People enjoyed the beautiful artwork, which showed them something they judged to be beyond their own skill levels. It made them feel more connected. And that is striking a blow for climate change activism?
Or is what described actually a very traditional experience of art, and the climate change con artists are hijacking the response, claiming it fulfills their agendas?
The Postmodern Establishment is trying to switch off the Enlightenment. The climate change hoax is an attempt to de-industrialize the West, even as our political classes continue to live in luxury. They try to use art as one of their tools of propaganda. Even when their hand-picked artists fail to get the desired result, they co-opt the interpretation, and explain why they win again.
As I state in my book, “Remodern America: How the Renewal of the Arts Will Change the Course of Western Civilization:”
The Modern age was the greatest liberation of humanity in history. As we became more efficient in providing the necessities of existence, we had more freedom to determine what kind of lives we wanted to live. As Modernism rose to highlight the potentials of individual initiative, leftist political movements counterattacked. Their goal was to squash humanity back into undifferentiated, subservient masses.
The elitists understood to maintain power, they had to undermine resistance. That’s why the top down cultural forces have made Postmodernism so prevalent. Using mass media to communicate their sickening message, the establishment made dispiriting Postmodernism the terrain we all must navigate, the atmosphere we all must breathe, the environment we all must adapt to.
The real climate change we need is the annihilation of Postmodern corruption. The Remodern Age has already begun.
THE REMODERN REVIEW 