Eine Menge menschenartiger Wesen marschiert vor einem riesigen Bühnenbanner auf. Die Figuren sind hellhäutig, haben gold-rote Hörner und Augen. Quer über den Mund verläuft der tätowierte, plakative Schriftzug ‘Truth’. Der auf das Banner projezierte Gehörnte wirkt wie ein Anführer. Der Aufmarsch bewegt sich scheinbar im öffentlichen Raum, Gerüste und Lautsprecher-Masten sind sichtbar. Das digitale Kunstwerk lebt von ungewöhnlichen Farben und Tonwerten sowie einer reduzierten Schärfentiefe.
‘Believe Me I’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.

In the long shot, the entire scene becomes visible. Columns of posters and loudspeaker masts, flags and barriers are shown. The central perspective emphasizes the monumentality. The horned men march towards the viewer.
‘Believe Me II’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.

Pictured frontally, one looks directly into the eyes of a participant. Large tattoos on the belly reveal the movement’s logo: a stylized brain surrounded by ears of corn and three stars. Above those marching further back, blurred black slogans buzz over the horned heads, which can be deciphered as ‘Truth’ on closer inspection.
‘Believe Me III’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.

In the frog perspective, the boots of the marching movement become visible. They have the shape of animal hooves and are also golden. The uniformed mob is wearing short black pants. The focus is on a horned man in the center of the picture.
‘Believe Me IV’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.

In the central frog perspective, the heated atmosphere becomes particularly palpable as the visualized battle cries fly directly at the viewer.
‘Believe Me V’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.

Bird’s eye view of the scene. Largely depicted is a flag with the brain logo of the movement and a pole full of loudspeakers. Above the crowd float the battle cries.
‘Believe Me VI’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.

Semi oblique shot from slightly above. The horned ones hold pennants with the battle cry ‘Truth’ in their hands. Confused facial expressions and fixed stares give the creatures an unreal expression. In the background, the leader is blurred on the stage banner.
‘Believe Me VII’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.

In another frog perspective, the image detail is focused on a horned marcher. This makes the creature appear more vulnerable.
‘Believe Me VIII’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.

Viewed from the side, with blurred rows of speakers in the foreground. The formation of mixed creatures marches past the viewer, in their rows separated by barriers.
‘Believe Me IX’ from the painting series ‘Truth’ /// 2023 / Digital painting exposed on Fujiflex photo paper glossy / Limited edition: 3 + 1 AP / 13,287 pixels (H) ∙ 23,622 pixels (W) / 44,3″ (H) ∙ 78,8″ (W) / Handwritten signed, titled and dated with year.


Original human work, created without artificial intelligence.
This work is protected by copyright in all its parts.
© 2023 by Heinz Hermann Maria Hoppe. All rights reserved.
Color and tone value representations on monitors deviate from the original.


‘Truth’ : : : Digital Painting


The image shows a section in approximate original size, depending on how large the image is displayed in the browser. Structures and details in original size become visible.
Detail view from the digital painting ‘Believe Me IX’

“Even if everyone agrees, everyone can be wrong.”
Bertrand Russel

Comment
Author: Heinz Hermann Maria Hoppe

About begetting opinions : : :
Digital Painting


Convictions, even radical ones, are malleable. Attention is the currency, propaganda the toolbox. The classic media of political propaganda can be combined in a modern way: Flags with websites, posters with social media, handbills with messengers. In political talks and on show stages, “loud-speakers” resoundingly serve their target groups. “Enemy images” are driven into people’s heads, according to tried-and-tested principles. Elementary basic needs, such as trust and security, are included. Promise! When everything runs smoothly, new slogans echo in fogged halls. Constantly renewed, for anchoring, fed with “bread and games”, carried on from mouth to mouth and from “app to app”, new, full-bodied convictions grow up. Suitcases full of money are able to bring even the most confused attitudes to the people.

“Propaganda” was originally abbreviated missionary work to the New World and the fight against Protestantism, based on a “Holy Congregation for the Propagation of the Faith”.1 Since the French Revolution, the term has stood for the spread of political ideas. The struggle for “mass and power”2 is ancient. The role of propaganda for armies, to support their war efforts and to recruit new “cannon fodder”, gave the term a bad image. Today we say “psychological warfare” and, as in the past, it also means the infiltration of messages to manipulate the enemy. “Communicative crusades” by parties, coalitions and associations are called “public diplomacy”. Announcements of brand messages have long been subsumed under “public relations”. Meant is always advertising for the interests and for the expansion of power. Contemporary corporate identities should also emphasize the brand essence of political parties, armies and churches. Potential new members want to be addressed in a contemporary manner; it is important to be, remain or become “up to date”.

Respect for other opinions, a fundamental democratic principle, is having a hard time. Scientists, original seekers of truth, are backing away from announcing their research results for fear of “shitstorms”. Universities disinvite speakers with conflict potential, buckle instead of providing podiums of discourse. “Boiling mobs” with radical demands see themselves in sole possession of the truth. Ideological attacks, storms of indignation, anonymous hate triads, demonstrative riots and wanton destruction cannot convince, only provoke. Expressions of opinion do not become more true when they come from loud throats.

On the other hand, government “muzzling” is never a good omen. Own opinions were, historically, rarely really free. Stating personal beliefs can be dangerous even today, life-threatening in some quarters. “In war, truth dies first.” News situations shift like front lines. Spreading enemy propaganda could be punishable by death during World War II. Words like “agitation”, “conspiracy”, and “indoctrination” came to life for it. Threats, security and career promises left flags waving at the front doors of new party members. “Reversed” children even betrayed their own parents. The role that “newsreels”, radio speeches and marches played in the identification with the National Socialists is well known. The elaborate implementation of their corporate identity program is still astonishing today, and not only for graphic designers3. In repressive systems, people often had and still have no choice but to join the cadres in power out of sheer necessity.

Truth is defined differently, depending on the discipline. Without evidence, “absolute” truths are without value, but evidence rarely lasts. Today’s truth can already be “lies and deception” tomorrow. Quotation Thomas Bernhard: »Letzten Endes kommt es nur auf den Wahrheitsgehalt der Lüge an.« (English: In the end it depends only on the truth content of the lie.) The practice, to the realization of selfish truths, begins already in the crawling age. In search of orientation, people get lost in spiritual mazes of “disinformation merchants”, stirred up by charismatic speakers with unconditional convictions. True seducers are not recognized by horns. The tools of their language and psychology for polarizing their followers are extensive: expressions, repetitions, foreshortenings, discolorations, exaggerations, emotionalizing, fomenting conflicts, launching one-sided representations, one-sidedly interpreted opinion polls, supposed “expert opinions” and purchased “research results”.

Psychology describes many cognitive biases that can be used and abused for one’s own goals. Excerpt:4



Apathetic, uncritical consumers are particularly lucrative target groups. How we are “sold”, how to expose attempts at manipulation, how to “get rich” by influencing others, are revealed by countless popular titles. In democratic countries, people publicly resist censorship and brainwashing. However, market research, demoscopy and psychology remain tried-and-tested “scanning methods” across party lines, especially during election campaigns. They have now been joined by another, perhaps the “big brother”, which has been christened artificial intelligence.

So does “everything remain under control?”



Sources

1 Propaganda. In: Wikipedia – The Free Encyclopedia. Date of last revision: 24. May 2023, 06:20 UTC. (Date retrieved: 11. June 2023, 10:44 UTC)

2 Canetti, Elias: Masse und Macht. Fischer Taschenbuch Verlag, Frankfurt/Main, 2014.

3 Koop, Andreas: NS CI. Das visuelle Erscheinungsbild der Nationalsozialisten 1920–1945. Verlag Hermann Schmidt Mainz, 2008.

4 Cognitive bias. In: Wikipedia – The Free Encyclopedia. Date of last revision: 18. May 2023, 17:09 UTC. (Date retrieved: 13. June 2023, 19:02 UTC)

5 Plickert, Philip: Das Institut der großen Antworten. Frankfurter Allgemeine Sonntagszeitung No. 18, May 7, 2023, Economy section, p. 22.

6 Burdy, Robert and Hüther, Gerald: Wir informieren uns zu Tode. Ein Befreiungsversuch für verwickelte Gehirne. Verlag Herder, Freiburg im Breisgau, 2022.


Recommended reading

Chromsky, Noam: Media Control – The Spectacular Achievements of Propaganda. Penguin Random House, 2nd edition.

Mausfeld, Rainer: Warum schweigen die Lämmer? Westend Verlag, Frankfurt/Main, 2021.

Müller, Albrecht: Glaube wenig. Hinterfrage alles. Denke selbst. Westend Verlag, Frankfurt/Main, 2021.


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