Aleppo: West Pathetically Recycles Art as War Porn Psyop

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Still from final scene of original "Planet of the Apes."

Some FX graphic photos included.

by Miri Wood

Due to the re-branding of al Qaeda not being enough, western imperialist forces apparently believe recycled propaganda might save their terrorists against Syria.  They seem to believe in the success of reducing our collective memory to 140 characters, too, or else they  would not recycle art as war porn after a mere 4 years.  The mangled Statue of Liberty (SoL) which was reportedly made from the rubble of a bombed out Homs, in 2012, has undergone a quick reincarnation as mangled Statue of Liberty reportedly made from rubble of a bombed out Aleppo, 2016.

Poetic still from final scene in “Planet of the Apes,” with chiaroscuro Liberty crown in foreground.

Before having to waste a good tissue to dry a lone tear, please be aware that no rubble whatsoever was used in the making of  the mangled  SoL — not it 2012, not in 2016.

This photograph is digital, made of pixels, only.

Pixelization cum ‘war as art/art as war’ porn.  This thing looks more like a vertebral column, including intervertebral discs, post fusion with instrumentation surgery, than Lady Liberty.

For those at risk of succumbing to emotional pornography, a suggested anti-serum would be to compare the beautiful cinematography of the two other Planet of the Ape photos, to this still of the aging, half-naked, Charlton Heston, and his gorgeous, young, grunting mate:

Tammam Azzam is the artist of the rubbled  Liberty.  For the sake of simplicity, we shall believe his backstory bio of his website, and in interviews by western media sources:  Azzam graduated from the School of Fine Arts at the University of Damascus. He and his family moved to Dubai early in the Syrian crisis so that he could avoid mandatory conscription (and to not get his artist’s fingers broken by “the regime.”)

Before the US moved into an underpaid, volunteer mercenary army, such men were called draft dodgers and were considered to be cowards and traitors.

It requires a bit of a suspension of disbelief in accepting that Azzam is a member of the Syrian Druze minority, from al Sweida, when considering that these people are known for their fierce patriotism, under some of the most horrific acts of violence from terrorists.

His claim of minority status, though, may also be for propaganda purpose, as western neo-liberal philosophy perceives minorities as enduring perpetual discrimination, based on the inherent colonialism of these countries.  It may be impossible for westerners to understand that Syria is a country so filled with minorities, that there are no minorities, there — only Syrians, all 23 million of whom have been besieged by the externally imposed war, for almost 6 years.

Though originally a canvas artist, Azzam claims that his move to digital “art” was forced upon him when he left his studio, in Damascus, in 2012.  It is somewhat suspect that he has been unable to purchase an easel and canvas, in his new home in Dubai.

He has been rewarded for his lies against Syria, and against Syrian President Bashar al Assad (whom he considers to be ”worse” than cannibal terrorists who blow up school buses, universities, hospitals, remotely detonate the cars of professors, and who behead 12 year old boys, among other heinous activities), for his lies about  non-existent pre-crisis sectarianism, by receiving media accolades, and an “art” exhibit in London, 2013.

Azzam is an indolent, double, thief (triple, actually, as he stole a free education from his country and gave nothing back to it). He steals the intellectual work of famous, and/or great artists.  He steals photographs taken by others, of buildings injured by mortars, missiles, IEDs.  His ‘artistic contribution’ involves the copying of the work of actual artists, and the pasting of them to photographs he has not taken.

As far as emotional war porn is concerned, the reincarnation of the pixelized SoL is rather anemic, when compared to other visual highlights, made to go viral, over the past 13 months — forced viralizations intertwined with news ‘report’ propaganda.

In late August/early September 2015aj+ released the photo of the the drowned baby, whose corpse was defiled by re-positioning to give it more of an emoticon feel.  aj+ is an offshoot of al Jazeera, owned by the ‘royals’ of Qatar, which bragged in 2013 that it had spent more than 3 billion USD for its part in the attempted final solution against Syria.  This was the launching of the myth of the external Syrian refugee, for purpose of strategic depopulation of the country.  Msm, of course, had no interest in noting that the drowned baby’s body had been used as a prop, nor that he was most likely born in Turkey, not Syria, nor that his father was the captain of the boat, the human trafficker who had over-stuffed the boat.  Msm reveled in this man’s grief, while ignoring the grief of Iraqi mom, Zainab Abbas, who lost two children to drowning, and who said she had paid the trafficker $10,000.

On 11 December the world went wild over the lying story that a Canadian children’s chorus sang an ancient Arabic song of welcome to the first batch of arriving “Syrian refugees,” almost immediately upon their landing.  This story was such a godsend that nobody wanted to know that Ecole Secondaire Publique de la Salle had been working on this performance for almost a year.  No msm cared to investigate that the performance had been uploaded to YouTube a week earlier, then removed, and re-uploaded to cohere with the date of propaganda story fastened to it.

In mid-July terrorists uploaded the beheading video of 12 year old Syrian-Palestinian Abdullah Issa. Though this grizzly atrocity did get media attention, it was delegated to ‘standard atrocities of war’ status.  It was not to be viralized, as this barbaric  act was committed by takfiri funded and armed by the US and its imperialist allies.   

Abdullah Issa, 12 year old Syrian-Palestinian, moments before his heinous beheading.

On 1 August, CNN showed itself to be terrorists most trusted name in news when it gave its international audience to an Australian takfiri in Syria, a man on the US’ global terrorist kill list, so that he might pleasantly announce to the world his non-Syrian terrorist gang was no longer affiliated with al Qaeda.

On 8 August, Samantha Power ran the blood-soaked terrorists through another bleaching cycle, at the UN.

On 17 August, the world was primed, was jonesin’,  for the release of a new Oscar nomination for war porn with child:  Enter Omran, the dusty, GrayBoy in the orange ambulance.   Alas, there is no record of how many “takes” were needed before the decision was made for theatrical release, but Omran’s sister did not make the editorial cut (there is such a thing as over-dramatic).

Omran’s sister was a distraction from the “iconic” intention of the photograph.
FX Productions

The just ‘rescued’ kids sit quietly but completely unattended to in a brand new €100,000 ambulance. No shock therapy was initiated, no Trendelberg position or at least laying down flat.  No one talks to them despite half a dozen photographers being around them.  — Moon of Alabama paramedic/investigative journalist.

Though Omran’s sister ended up on the cutting floor of the editorial department, for that “iconic” scene, she still stands a chance of a future nomination, as both she — and he — have been re-rescued by the same White Helmets death squads, on other occasions.  The WH is the “Syrian” “grassroots” “first responders” gang that was founded by a British intelligence officer, is headquartered in Istanbul, claims “neutrality” despite operating only in terrorist-controlled Idlib and terrorist-controlled neighborhoods in Aleppo.  Despite receiving $23 million from the CIA, not one of these “first responders can afford a stethoscope.

On or about 17 August the White Helmets were nominated for a Nobel Peace Prize.  The timing is important, as it was this gang of killers that dug Omran and sis out from rubble.  

Humanitarian White Helmets stand on Syrian corpses while making the “victory” sign

One day later, a Syrian activist discovered that the man who took the “iconic” Omran photo is a supporter of the beheaders of 12 year old Abdullah Issa, the al Zinki subsect of the moderate takfiri FSA.  Mahmoud Rslan was forced to delete his social media account after activists took screen grabs of his “selfies” with the child butchers.  Nonetheless, western media has flagrantly censored this news.  Despite everyone knowing it, though, Swiss journalist Sandro Brotz shamelessly whipped out a photo of Omran during a recent interview with President al Assad, in which he practically demanded an apology from him, and Hillary Clinton warmonger-ed over Omran during the final presidential debate.

In late September throughout mid-October CNN’s terrorist friends were cheering the good news that the al Zinki child-beheaders had joined the military wing of the now un- al Qaeda terrorists headed by the Aussie on the global terror list.

In late September, al Jazeera and the WH’s attempted to viralize a news story about another fake bombing, with fake injuries of fake civilians.  It was unsuccessful.  Rslan only made a cameo appearance.

On 18 October, a viralization campaign was attempted to promote yet another anti-Syria propaganda campaign, that of a new comic-book super hero character based on a State Department version of a Syrian mother.  This is a collaboration between a major US news station, and a comic book corporation, both of which are owned by the Disney corporation, founded by the US intelligence operative who convinced the WWII generation to allow its children to pledge allegiance to a rodent named “Mickey Mouse.”

On Thursday 20 October, the Syrian government initiated a unilateral humanitarian pause, and opened corridors for the safe passage of civilians from terrorist occupied eastern neighborhoods of Aleppo, and for the passage of terrorists from Aleppo, into Idlib (despite courageously having offered his 69 year old body as a shield for the armed takfiri, Special Envoy de Mistura demonstrated that his offer was only for the purpose of anti-Syria propagandizing, as he was a courageous no-show).   Buses, ambulances, and trucks filled with foodstuffs were on hand.

Syria sent ambulances to evacuate the ill, and buses to transport terrorists out of Aleppo.

The takfiri responded to this generous offer by murdering Syrians who wanted to leave, by not getting on the air-conditioned buses to Idlib, by refusing entry of the trucks containing food and medicines.  The “heroic” CIA-funded and stethoscope-less White Helmets are mute — as is the US-funded “Aleppo Media Center” (most likely named so that it could share the “AMC” acronym of an American cable television network) — instead of condemning Syrian civilians being held hostage, instead of assisting these civilians onto these buses.  Western msm is mute.

This is the stark, the brutal, the ugly, truth.

It is reality, devoid of attempts of emotional manipulation.

Here, is ample and honest reason for tears.

Is it not pathetic, then, to instead allow oneself to be “touched” by a photoshop?

 

 

 

 

 

 

 

 

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