satanists love the art, museum, foundation business - for good reason. Art can have any assigned value. An art market can be created overnight in a previously unknown artist like Keith Haring. This makes art/museums antiquities a perfect way to move money around, while, at the same time, promoting inventory or stock-in-trade, art, as a store of long-term value.

A painting is worth what you say it is if you're the Getty Museum, the Hammer, the Broad, the Norval, the Huntington or the whatever-cult-tycoon is pretending philanthropy and laughing at us as we reverently troop through their art gallery front operation. There's another good, valid and unholy reason satanic cult con artists like to use art galleries foundations and museum cover structures as operational fronts.

In the case of art we've been POWERFULLY conditioned never to seriously question art. Anyone who says "my kid could do that- " is culturally defined as an idiot. Only an ignoramus questions art. We’ve been taught this in movies and sitcoms, we've been told a hundred ways, a thousand times: only vulgar and uneducated people criticize art. Philistines. Prudes. Hicks. Yokels. Furthermore, we are taught that art is a specialist area, and if we aren't specialists or insiders, we couldn’t possibly have anything worthwhile to say and we ought keep our crude thoughts to ourselves and our boorish mouths shut around what we don’t understand; because art is sacrosanct; the sacred self-expression of the individual.

Decades of this powerful conditioning allowed Pedosta's fat brother Tony to pose for a multi-page spread in a glitzy DC magazine with his daemonic sculpture of a gilded homosexual torture victim and with pictures of abused children in bizarre ritual locations. ART. The same conditioning protects Marina Abramovic and the crowd of stars” and celebrities" photographed eating an art corpse soaked in honey at an art event. It’s ART. The pedovores are rightfully confident in the powers of our conditioning to protect them that they licensed photos of themselves with forks stuck into the honeyed art corpse to be published in art & fashion magazines, blogs and supermarket tabloids. The honeyed corpse is a gnostic occult ritual. https://en.wikipedia.org/wiki/Mellified_man

Why do satanist pedovores parade their pathology in front of us? When we see Tony Pedosta, John “Skippy” Pedosta’s brother's sculpture we do not understand consciously what we are seeing is a gold leaf covered model Dahmer’s homosexual torture victim. What effect does seeing something we don’t consciously understand or necessarily recall having seen have on us?

A lot. This is the “secret” of the effectiveness subliminal and subsonic embed programming. Words and images we don’t know that we’ve seen are perceived by the unconscious component of our minds. We know this because tests using subliminal embeds not consciously seen still raises our blood pressure, increases our pulse rate, and fMRI studies show that these unperceived influences activate portions of the brain associated with memory and emotional trauma. We do understand sex and death images unconsciously and traumatic images are retained in memory below the threshold of conscious awareness to influence our future behavior over time. Images of sex and violence in unconscious memory affect us like PTSD caused by real world exposure to rape, torture, child pornography or physical trauma.

Information War or IW operations target the unconscious mind. This “witchcraft” works best when we are not aware of images we’ve been exposed to subliminally or even that we are being targeted at all.

Sculpture of Dahmer’s torture victim is presented at galleries and in publicity as fashionable, highly sought after, rare and precious work collected by knowledgeable, prominent people like Tony and John Podesta.

satanist’s social subversion/sabotage operations exploit our strongest social conditioning. Art world institutions, galleries and foundations are trumpeted as the highest form of philanthropy and criticizing them is not just foolish it’s ungrateful. Art is a satanist controlled industrial market. Since the days of Bernard Berenson art has been used to create and launder money to authenticate forgeries and to smuggle antiquities. Big art shows and exposition are used to emotionally prime us for coming events, to predispose individuals and groups to adopt preferred attitudes, practices or behaviors in a multitude of social dimensions; while, at the same, generating enormous profits, tax breaks and (through school outreach programs) providing access to children.

https://www.artforum.com/diary/linda-yablonsky-at-the-la-moca-gala-29517

https://www.crazydaysandnights.net/2018/07/blind-items-revealed-14_5.html

http://washingtonlife.com/2015/06/05/inside-homes-private-viewing/

>18408360

"There will be at sometime a perfection of the good, when the destruction of evil; the one will be the Highest, and the other will be no more. And if we think that that this is to be hoped for in this mortal state, we are deceived. For it shall be then, when death shall not be; and it shall be there, where shall be life eternal. For in that world, and in that kingdom, there shall be the highest good, no evil; when there shall be and where there shall be, highest love of wisdom, no labor of continuance."

St Augustine

SHILLS OATH

I am satan's shill. I believe nothing, I will say anything.Over and over. I have no values, friends or family I will not sell into bondage forever for food and for feathers. Dollars will buy me. What can not spend I will burn in an ashtray or shove up my ass but I must have dollars. Give me fiat. I am satan's shill. I demoralize myself. When I finish the blow I take five xanax footballs and pass out on rental furniture. Asleep, I dream I'm awake. I am satan's shill. My stridulations are filtered. My mockery, my despair, my anguish, like my coming and my going, pass ever unnoticed. I am satan's shill. One day I will vanish like a knot in a shoelace. I am satan's shill. A petty criminal, a peeping Tom, a canvas for others tattoos, a repeater, an NPC.

Whether you call it "romanticism" "Gothic" or "satanic" Isidore Ducasse ended the literary experiment with a summary of a century of achievements in gothic (romantic or satanist) literature. He lived a very short life, as if only to write what he did. A life the photographer Man Ray understated as enigmatic. It was satano-encrypted.

From Poesies:

"Disturbances, anxieties, depravities, death, exceptions in the physical or moral order, the spirit of negation, stupefactions, hallucinations served by the will, torments, destruction, reversals, tears, the insatiabilities, the enslavements, scoured imaginations, laborious novels, what is unexpected, what not to do, the biochemical the shit of a mysterious vulture which watches for the carrion of dead illusion, precocious and aborted experience, the obscurities with a bug shell, terrible monomania of pride, the inoculation of deep stupors, funeral orations, envies, betrayals, tyrannies, impiities, irritations, acrimonies, aggressive pranks, insanity, spleen, reasoned terror,the strange anxieties, which the reader would prefer not to feel, the grimaces, the neuroses, the bloody channels through which we make logic pass at bay, the exaggerations, the lack of sincerity, the saws, the platitudes, the somber, the lugubrious, childbirth worse than murder, passions, the clan of the crime writer, tragedies, odes, melodramas, extremes presented in perpetuity, reason whistled with impunity, the smells of the sissy, fading, frogs, octopus, sharks, desert simoon, all that is somnambulist, sleazy, nocturnal, sleeping pill, night owl, slimy, talking seal, equivocal, consumptive, spasmodic, aphrodisiac, anemic, one-eyed, hermaphrodite, bastard, albino , pederast, bearded woman,the drunken hours of taciturn discouragement, the fantasies, the Acrotés, the monsters, the demoralizing syllogisms, the garbage, whatever does not reflect like the child, the desolation, this intellectual mancenillier, the scented cankers, the thighs with camellias, the guilt of a writer who rolls down the slope of nothingness and despises himself with joyful cries, remorse, hypocrisies, vague perspectives that grind you in their imperceptible gears, serious spitting on sacred axioms, vermin and its insinuating tickles, insane prefaces, like those of Cromwell, the scented cankers, the thighs with camellias, the guilt of a writer who rolls down the slope of nothingness and despises himself with joyful cries, remorse, hypocrisy, vague perspectives that crush you in their imperceptible gears, the serious spitting on sacred axioms, the vermin and its insinuating tickles, the insane prefaces, like those of Cromwell, of Mthe scented cankers, the thighs with camellias, the guilt of a writer who rolls down the slope of nothingness and despises himself with joyful cries, remorse, hypocrisy, vague perspectives that crush you in their imperceptible gears, the serious spitting on sacred axioms, the vermin and its insinuating tickles, the insane prefaces, like those of Cromwell, of the island of Maupin and Dumas fils, the caducities, the impotences, the blasphemies, the suffocations, the suffocations, the rages, - in front of these filthy mass graves, which I blush to name, it is time to react finally against what shocks us and bends us so sovereignly."

No race, no people has ever been free from slavery, either as slave or as master. Every race and every people ever enslaved became at every opportunity enslavers themselves:

Greek enslaved by Greek in the time of Aristotle, black enslaved by black since time immemorial in Africa and in the 19'th century, the American south. Slavery was never predicated on race except as circumstances rendered it. Many of the vast number of slaves of ancient Rome were fair skinned, fair haired Germans and Anglo Saxons.

The universal truth of slavery, that it has been throughout history one of the defining manifestations of human nature, has been suppressed both by history and by that nature.

The enduring myth that slavery was imposed on Africa by outside forces, that it was introduced by the Portuguese in 1444, is belied by the fact that slavery and the slave trade were ancient and commonplace within Africa long before the arrival of any white slaver. (The trans-Sahara slave trade route between West and North Africa likely had it's beginnings as early as 1000 B.C., hundreds of years before the Ethiopians, long enslaved by Egypt, conquered and gave to Egypt its Twenty-Fifth Dynasty; hundreds of years before Homer wrote in the Iliad that half the soul of man was lost when "the day of slavery" came upon him.")

"Slavery was widespread in Africa," writes Professor John Thornton in Africa and the Africans in 'The Making of the Atlantic World, 1400 - 1800,' "because slaves were the only form of private, revenue producing property recognized in African law."

To the 'odehye' - the freeborn - elite of West Africa, the outside forces of Europe, England and the Americas imposed no evil, but merely presented a new market, increased demand, and lucrative new export opportunities that the indigenous powers welcomed and readily exploited.

We bewail our past as slaves - experienced or ancestral, real or fancied - but never commemorate our enslavement of others.

Only circumstance separates slave from master; and for much of history, freedom and the will to enslave have been one. The oppressed, in the blessing of their deliverance, become the oppressors.

"The ox," said Aristotle, "is the poor man's slave."

Toches, Nick.

Behold a Pale Horse

Bill Cooper

https://archive.org/details/william-cooper-behold-a-pale-horse

>>18408647