by Silviu “Silview” Costinescu

The general public is in the unknown about this, but specialists have been knowing for a long time: the Placebo effect works both ways, and perception can heal as much as it can make you sick, depending on what your expectations are.
The reverse placebo even has a fancy name: Nocebo.
Yet no one has asked yet how this plays out when over 1 billion people are home-detained because of a virus.


A study published in the Feb. 16, 2011, issue of Science Translational Medicine shows dramatic differences between the test group and the Nocebo group: “Bingel’s researchers studied the “nocebo” effect—when patients believe they are not receiving medication by are—by lying and telling the volunteers that they were going to stop receiving the drug and that they might start to feel more pain once more. Immediately, the pain levels the volunteers reported feeling rose rapidly again to an average of 64 points, despite the fact that the researchers continued to administer the same level of the painkiller.”

One year later, here comes crushing evidence that scientists know of Nocebo, but criminally overlook it. The Smithonian Mag reports:
“Researchers from the Technical University of Munich in Germany published one of the most thorough reviews to date on the nocebo effect. Breaking down 31 empirical studies that involved the phenomenon, they examined the underlying biological mechanisms and the problems it causes for doctors and researchers in clinical practice. Their conclusion: although perplexing, the nocebo effect is surprisingly common and ought to be taken into consideration by medical professionals on an everyday basis.”

Many people call it “reverse Placebo”, but that’s not entirely accurate. Nocebo is not related to medical treatments only, anything can trigger it, even superstitions. That’s how spells and witchcraft appear to work sometimes.
<<It’s not exactly a reverse placebo effect. A placebo effect is a real improvement in the condition of a patient, which the doctor does not believe was caused by the treatment. Webster’s “improvement in the condition of a patient that occurs in response to treatment but cannot be considered due to the specific treatment used”.
A nocebo effect is a negative effect on the condition of the patient, which the doctor does not believe was caused by “what the patient sees as the cause”. Webster’s “the development of adverse side effects or worsening in the condition of a patient that occurs in response to medical treatment but cannot be considered due to the specific treatment used”.
In historical discussions of nocebo effect are often cases of voodoo or witchcraft. No medical treatment is required. Eg. A witch doctor puts a spell on a person, who then falls ill and might even die – even though the doctor does not believe the spell could have any real effect>>, in the words of Tracy Kolenchuk, Author of “The Elements of Cure”

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Scientists, but more so media and politicians, need to start assessing the price and consequences of the total life-disruption they’ve caused lately, and, among many other things, they have to consider what toll will Nocebo take from public health. Because the expectations they’ve created are the closest thing to the end of the world. They made it impossible to realistically expect better things than what we had before Coronavirus. And many people had it hard even back then. I can’t imagine a scenario favoring poverty, nocebo and a trove of avoidable diseases more than the global Covid-19 hysteria. No disease can compete to what our ignorance is doing to us.

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! Articles can always be subject of later editing as a way of perfecting them

“I have never been so upset by a poll in my life. Only 22% of Americans now believe “the movie and television industries are pretty much run by Jews,” down from nearly 50% in 1964. The Anti-Defamation League, which released the poll results last month, sees in these numbers a victory against stereotyping. Actually, it just shows how dumb America has gotten. Jews totally run Hollywood.

How deeply Jewish is Hollywood? When the studio chiefs took out a full-page ad in the Los Angeles Times a few weeks ago to demand that the Screen Actors Guild settle its contract, the open letter was signed by: News Corp. President Peter Chernin (Jewish), Paramount Pictures Chairman Brad Grey (Jewish), Walt Disney Co. Chief Executive Robert Iger (Jewish), Sony Pictures Chairman Michael Lynton (surprise, Dutch Jew), Warner Bros. Chairman Barry Meyer (Jewish), CBS Corp. Chief Executive Leslie Moonves (so Jewish his great uncle was the first prime minister of Israel), MGM Chairman Harry Sloan (Jewish) and NBC Universal Chief Executive Jeff Zucker (mega-Jewish). If either of the Weinstein brothers had signed, this group would have not only the power to shut down all film production but to form a minyan with enough Fiji water on hand to fill a mikvah.

The person they were yelling at in that ad was SAG President Alan Rosenberg (take a guess). The scathing rebuttal to the ad was written by entertainment super-agent Ari Emanuel (Jew with Israeli parents) on the Huffington Post, which is owned by Arianna Huffington (not Jewish and has never worked in Hollywood.)

The Jews are so dominant, I had to scour the trades to come up with six Gentiles in high positions at entertainment companies. When I called them to talk about their incredible advancement, five of them refused to talk to me, apparently out of fear of insulting Jews. The sixth, AMC President Charlie Collier, turned out to be Jewish.

As a proud Jew, I want America to know about our accomplishment. Yes, we control Hollywood. Without us, you’d be flipping between “The 700 Club” and “Davey and Goliath” on TV all day.

So I’ve taken it upon myself to re-convince America that Jews run Hollywood by launching a public relations campaign, because that’s what we do best. I’m weighing several slogans, including: “Hollywood: More Jewish than ever!”; “Hollywood: From the people who brought you the Bible”; and “Hollywood: If you enjoy TV and movies, then you probably like Jews after all.”

I called ADL Chairman Abe Foxman, who was in Santiago, Chile, where, he told me to my dismay, he was not hunting Nazis. He dismissed my whole proposition, saying that the number of people who think Jews run Hollywood is still too high. The ADL poll, he pointed out, showed that 59% of Americans think Hollywood execs “do not share the religious and moral values of most Americans,” and 43% think the entertainment industry is waging an organized campaign to “weaken the influence of religious values in this country.”

That’s a sinister canard, Foxman said. “It means they think Jews meet at Canter’s Deli on Friday mornings to decide what’s best for the Jews.” Foxman’s argument made me rethink: I have to eat at Canter’s more often.

“That’s a very dangerous phrase, ‘Jews control Hollywood.’ What is true is that there are a lot of Jews in Hollywood,” he said. Instead of “control,” Foxman would prefer people say that many executives in the industry “happen to be Jewish,” as in “all eight major film studios are run by men who happen to be Jewish.”

But Foxman said he is proud of the accomplishments of American Jews. “I think Jews are disproportionately represented in the creative industry. They’re disproportionate as lawyers and probably medicine here as well,” he said. He argues that this does not mean that Jews make pro-Jewish movies any more than they do pro-Jewish surgery. Though other countries, I’ve noticed, aren’t so big on circumcision.

I appreciate Foxman’s concerns. And maybe my life spent in a New Jersey-New York/Bay Area-L.A. pro-Semitic cocoon has left me naive. But I don’t care if Americans think we’re running the news media, Hollywood, Wall Street or the government. I just care that we get to keep running them.

By JOEL STEIN / LA Times / DEC. 19, 2008 12 AM

Bonus

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! Articles can always be subject of later editing as a way of perfecting them

by Silviu Costinescu

Censorship is what happens when people with greater powers than others go from saying “I hate this speech!” to factually suppressing that speech.
Censorship IS hate speech enacted. Institutionally.
Institutional hate that breeds more hate.
And institutions follow an agenda. So there is a hate agenda.


Censorship has never protected anyone from hate. If only hate was just about speech!
Censorship actually exacerbates hate through frustration. Most ideologically motivated mass shooters were deeply frustrated that their message was suppressed, and they killed people as a way to make themselves heard, among others.

In establishment’s propaganda, “hate speech” has become speech hated by the powers that be. Stalin and all communist dictators were branding any opponent “enemy of the people” and any dissenting speech as “subversive”. Replace that with the more contemporary “conspiracy theorist / terrorist” and “hate speech” and see if it reminds you of anyone.

Censorship means we are paying people to take away our speech and our vision. Collectively, censorship doesn’t happen TO us from an entirely external source. Censorship happens usually when a society abandons itself and the fight for freedom because it’s been bought up with more comfort or, more often, promise of comfort. And, eventually, that comfort always proves to be less preferable to the comfort of liberty.

So censorship doesn’t really protect the people, but, in almost every instance, it has protected powerful and corrupt people from truth. Even the hate that it breeds fits a control agenda, because it’s divisive and it distracts us from lies, corruption and systemic failures. It robs us of messages of love and help from other people, when they go against the censor’s agenda .
It’s just another typical situation of problem sold as a solution to itself. Logical hocus-pocus. That’s why they don’t properly teach logic in schools.

There is no way in which censorship can be beneficial, neither to the censored OR the censor. The latter always ends up suffering a form of strong backlash, because the energies it tries to suppress always find a way through, energy doesn’t disappear, doesn’t stay locked forever, it always transforms and manifests.

There’s no way censorship works for us, but there’s a million ways it can go against us.

Fight censorship simply by not participating in it and not collaborating with censors!



If you enjoy any of my work, remember that most of what I do is made freely available to the general public and I rely on your support for keeping it that way, so buy me a coffee if you feel like it, thank you!

! My articles can always be subject of later editing as a way of perfecting them

by Silviu Costinescu

A version of this article was originally published on my arts and music blog on Synkretic Network, but since the issue and the angle here are much broader than music, reaching into free speech and economy, I think it has a place on this page too.

How many social protest songs have you seen in the charts this last decade? What does that mean?

There’s a new generation now that hasn’t really experienced the great raw energy of a large mass of people united in chanting a chorus that expresses protest and discontent towards the establishment. “F You, I won’t do what you tell me!” has been replaced with “F you, I will do what this other establishment shill tells me!”. I’m an artist and a promoter in my 40’s and I contemplate the strong possibility that I will never again witness something like the early Rage Against The Machine, or even Lenon’s “Imagine”, becoming largely popular. Social lyricism in hip-hop is in a coma too. And this is how we got here:

Streaming services demonetized protesters

Internet and streaming services are being used to take away underground’s income sources and self-sustainability. You keep hearing Spotify or Soundcloud are not profitable and you keep wondering how do they survive then? They’ll always find financing, because they deliver all the music to the audiences without making the artists’ lives self-sustainable. Sales are a joke now. This way, independent artists become starving artists, and it’s legal, unlike piracy.
Only selected (or fabricated) establishment minions are allowed to thrive. That means only establishment’s messages get through. To the people running the show, this is worth much more money than it costs! A perfect assassination of artistic integrity and social protest. If you hear anything, it’s sponsored. The 2019 RATM, if they re-unite as rumored, won’t be anything like the early RATM because now they need Google and Twitter and Vice and corporate festivals on their side to succeed, not the other way around. The tables have been switched under our noses while we were getting high on Facebook likes.

Of course this new paradigm generated some independent success stories, but what do they all have in common? They fall in line with what’s acceptable for the establishment. And when you zoom out and look at the big picture, which includes all artists, what do you see? I see a huge mass of talented yet starving artists and a bunch of lottery winners, a few new happy faces in the media every year keep the scam going. The middle class in music is dead too.

Social media hijacked the audiences

“Bring your fans aboard so we can disconnect them from you and connect them to our establishment-sponsored BS!”. This has been the plan from the beginning for the mainstream social media. They weren’t here to help artists, unsurprisingly. They’ve just used artists and popular figures to attract the masses and fill up their boat, and then they sailed their own course. Only 5% of your Facebook artist page subscribers see your posts now, but I bet they all are exposed to a ton of Coca Cola, CNN or The Guardian posts even without subscribing to those pages. Perfect heist!

How do we bounce back?

I’ll get massive hate from corporate slaves for saying this, but there’s only one way I can think of and I’m already working on what I preach:

More direct contact with more implication and mutual support from both sides: artists and audiences. If we don’t act now, tomorrow might be harder or even too late.

What does that, technically, mean? Cut off the gatekeepers and middlemen as much as possible, stay in touch directly, support each other directly. This is coming from a guy who partly works as a middleman too; but only because there’s still a need for that, I’ll be happy to focus 100% on my own art when I’m not meeting any needs anymore!  It’s not more simple or more complicated than building and maintaining a little dedicated fanbase without letting it get leached and drained out by gatekeepers and middlemen. That means you can’t use their tools, you have to circumvent them. So now’s the best time to get creative, I await your ideas while I work on mine!

It breaks down to:
Artists need to invest more in their direct contact with the fans than in traditional marketing and media plans. Time to get personal, the industry and corporate media are not doing the job of putting us in touch anymore, they only disconnect us. I spent a good bunch of time and money to create a social network just so that artists and fans of all sorts can freely talk and support each other directly, without interference. I’ll create more tools and options for that, but Synkretic Network already offers all the tools you need for this purpose at no cost. Maybe it’s time to populate it. Or start your own.

Fans need to invest more in the artists that make their lives better, and do it more directly. If you buy an $1 song from Apple or Amazon, there’s at least 3-4 entities that will snatch 50-75% of that money before the artist has a chance to see his share. If you see a donation button, chances are that the artist will be able to spend about 80-90% of the sum you send, so drop your dollar there instead of iTunes and such. Avoid rips and leaches. If you don’t have money to spend, please help spread awareness, it’s just as helpful.  Or help the artists get booked in your city. Just re-invest back in the scene some of the good energy you’re getting from your favorite artists and we’ll be cool again! Only if you want and find it necessary to have a healthy artistic life, for yourself and the whole society as well.

As a personal example, the last couple of years I started to make most of my work, past and present, available for free, because art shouldn’t be for sale in the first place, this is how the whole problem started. Art thrives from honest crowd support. Low sales don’t mean people don’t care about artists anymore, it’s just that they’ve been reprogrammed to care differently and they lost the habit of paying; older folks aren’t aware that paying for listening music is a strange concept to most teenagers in 2019.
I know I’ll get even less donations than sales for a while, but I’ll receive double or triple the percentage and they’ll be available instantly, not 5-6 months later, as per usual with the industry. Also fans can’t ever feel cheated as they conveniently donate whatever they can afford, whenever they can afford it, typically after enjoying artist’s work; and their conscience is the only one to arbiter how much they should invest in this. Win-win situation, that’s what alien pimping is about! Use your money and shares wisely, my friends!

Hopefully I’ll also do a good job at persuading people they need to act as soon as yesterday, and dropping a coin in our digital hats when available can make a difference; so can a few good clicks. I’m becoming a digital busker, as I’ve said before, since I don’t have what it takes to be a good street busker. It’s yet way too early to say how it will work, but I doubt there’s any other way out of this swamp.

So here’s my digital busker hat, I’m already working to thank you: DONATE 
I mean, for consistence, besides other projects, I already have my next protest song in the works, it will be available for free download as soon as possible, whether you drop me a coin or not.

UPDATE + CLOSURE:

from Daily Bonnet

It took about half a year for life to deliver a final closure to this case.
“In response to the outrageous ticket prices a new activist group has emerged called Rage Against Rage Against the Machine”, jokes the satirical site Daily Bonnet, after they found out that the ticket prices for the new 2020 RATM tour are soaring from $190 way up.

THE END

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! Articles can always be subject of later editing as a way of perfecting them