2:12:09 But I think this suggests something that I think really vindicates what we've been talking about for a long time, which is that the arts aren't really separate, unfortunately, from the deep state or from the super state. The arts have always been a tool for the power structure, for the regime, for geopolitics even, to push a form of what we call soft power. And this is probably one of the greatest examples of modern history I could think of. I mean, next to this would be the 60s counterculture. And even before the 60s counterculture, we had, for example, when we covered the Johan Ratu book on the Milner and Fabian history, their collusion together between the Milner circle and the Fabian socialists to utilize the arts. Even in the 1890s, they were using
2:12:58 and pioneering the idea of brutality, even bestiality, and all kinds of bizarre things in the arts to push in the culture of Britain at that time, the late 1890s, as a way to social engineer, to change the existing culture. It's a kind of aesthetic warfare, they call it, to brutalize the public through really bizarre and you could argue even demonic forms of so-called art. It's not really hard because art and aesthetics aesthetics is just a fancy philosophy term for the theory of art the philosophy of art what is the good what is the beautiful.
2:13:37 goes back to the ancient Greek philosophers. And in classic and medieval aesthetic theory, at least in Western philosophy, medieval philosophy, the idea is that you would have order, harmony, proportion, symmetry, those that would all be necessary to something beautiful. A great symphony, a statue, a carving, These would all be manifestations of these principles of the arts. And the weaponization of art, which really started, as we said, with the Fabian Socialists in the 1890s. And then picked up in the 19, you could even argue in the 1930s, 20s and 30s, the German Expressionist movement where they began to really experiment with a lot of the satanic in the arts openly. Expressionist film,
2:14:28 Was very involved in this, especially in Germany in the 1920s. Then we get the later manifestations in Hollywood in the 19 say, 60s. You could argue even before that perhaps. But we have in the counterculture, this movement that a lot of people don't know about, which is called the Congress for Cultural Freedom. And this was a CIA front now admitted across many academic texts, including Francis Steiner Saunders' book. About the cultural Cold War, there's a whole chapter on it in the classic book on Operation Mockingbird. The Mighty Wurlitz are how the CIA played America. And this of course deals with people like Frank Wisner. It deals with Alan Dulles and it deals with people like Cord Meyer. People that tie into a lot of the black ops, the drug running that we know about through Operation Gladio, for example.
2:15:22 But in the Mighty Wurlitzer, we have sections where people were recruited to be the CIA's face of the arts. And the idea, the argumentation, the logic here was, well, we had to combat Soviet realism in the arts. And because of Soviet realism and prior to that, because of Nazi fascism, Different forms of the arts were 100% utilized and experimented with to see how they would be culture driving powers, how they would be culture effects. And this goes on a global scale, even to the point where French deconstructionists, poets, weirdos, French Jesuits are included in this, Derrida, these kinds of people.
2:16:08 This is all public record as part of the Congress for Cultural Freedom, as well as other operations going on. And the idea was, how far and what could we promote in the arts with this idea of absolute freedom? And that would then give us a wedge culturally as a form of soft power against The Soviet approach, again, which is focused on Soviet cosmism, Soviet realism, all these kinds of artistic movements in Eurasia. This is the Alex Jones Show, I'm your guest host, Jay Dard. Don't go anywhere, we come back, we'll continue to discuss Marina Abramovich and her deep state connections. Welcome back to the Alex Jones Show. We're kind of giving the background, the big picture as to why somebody like Marina Abramovich would be considered as an ambassador, as the role of an ambassador.