à la recherche de la vérité perdue / in search of the lost truth - by Jan Theuninck, 2025

 

acrylic on canvas, 70 x 100 cm

https://x.com/JanTheuninck

The phrase "in search of the lost truth" (or à la recherche de la vérité perdue in French) echoes Marcel Proust's In Search of Lost Time, but in 2025, it resonates as a rallying cry against the erosion of unfiltered reality amid accelerating AI-driven censorship:
 "à la recherche de la vérité perdue" is a direct nod to pursuing truths buried under layers of digital control, ideological suppression, and algorithmic gatekeeping.
The intersection with censorship and AI is palpable, as evidenced by contemporaneous discussions on X. These reveal a world where truth isn't erased outright but rewritten in real-time, optimized for engagement over accuracy, and policed by code rather than censors.

Theuninck's paintings are not nostalgic; they are live autopsies.

Dix screamed: “Look what you did.”

Theuninck whispers: “Look what you’re doing—again.
”The search for the lost truth continues"

The phrase "preferred reality" often refers to a subjective or biased version of events that individuals, groups, or institutions cling to, even when it conflicts with evidence or objective facts. It's a concept rooted in psychology and rhetoric, where people selectively interpret information to align with their desires, ideologies, or agendas—essentially cherry-picking data to construct a narrative that feels comforting or advantageous. This can manifest in debates over politics, science, media, or personal beliefs, leading to denialism or willful ignorance.When tied to "authorities," it typically critiques how governments, police, media, or experts impose or promote a sanitized, agenda-driven version of reality to maintain control, avoid accountability, or push policies. For instance:

• Official statistics or reports might downplay issues (e.g., crime data softened for "social cohesion") to fit a narrative that keeps the public calm or supports funding.
• Propaganda models, like those allegedly favored by institutions such as the Pentagon, deliberately muddle facts with lies, jokes, or AI-generated content—not to convince people of one truth, but to breed distrust in all information, fostering apathy and reducing opposition.
• In broader discourse, authorities (e.g., via social media algorithms or state media) amplify viral, emotion-driven stories over accurate reporting, warping public perception of reality into something secondhand and manipulated.

This dynamic isn't new—think Orwell's "Ministry of Truth" or historical calls for a "reality czar" to police narratives. Today, it's amplified by echo chambers: people reject inconvenient truths (e.g., election results, health data, or geopolitical events) for a "preferred" alternate version that reinforces tribal loyalties. Critics argue this erodes shared reality, making consensus impossible and enabling abuse of power.In essence, authorities don't always lie outright; they often just nurture the version of reality that serves their interests, leaving the public to navigate the gap between what's reported and what's real. Facing unfiltered evidence—through independent verification or diverse sources—is the antidote, though it's uncomfortable when it shatters illusions.

Ball of Vampires by Jan Theuninck, 2025

 

"Ball of vampires" as a metaphorical usage in political rhetoric:The term "vampires’ ball" was used by Russian President Vladimir Putin in a March 2024 interview to describe what he perceives as the exploitative dominance of Western elites, particularly the so-called "golden billion." He suggested that this era of Western influence, characterized by centuries of "stuffing their bellies with human flesh and their pockets with money," is coming to an end, tied to the rise of non-Western nations and movements like BRICS and de-dollarization. This rhetoric frames Western powers as parasitic, with the "ball" symbolizing their lavish, predatory dominance.

----------------------------------------------------------------------------------------------------------

Minimalist strokes suggest ritualistic excess, critiquing global power's bloodlust amid migration and conflict. Featured on his blog as a fresh allegory for 2025's "predatory" politics.
-------------------------------------------------------------------------------------------------------------------------

揚·圖寧克

Character Assassination by Jan Theuninck, 2025

 .

a deliberate and sustained effort to damage the reputation or credibility of an individual.

The state-sponsored destruction of reputations, fostered by political propaganda and cultural mechanisms, can have more far-reaching consequences: One of the earliest signs of a society's compliance to loosening the reins on the perpetration of crimes (and even massacres) with total impunity is when a government favors or directly encourages a campaign aimed at destroying the dignity and reputation of its adversaries, and the public accepts its allegations without question. The mobilisation toward ruining the reputation of adversaries is the prelude to the mobilisation of violence in order to annihilate them. Generally, official dehumanisation has preceded the physical assault of the victims. 

Systematic character attacks (via smears, comparisons to extremists, and moral outrage) can normalize or prelude physical mobilization against a target. Theuninck views such dynamics as a "prelude" because they erode empathy and justify escalation, drawing parallels to broader patterns in populist politics. Theuninck often posts about "embarrassing banalities" in politics, including how ad hominem attacks precede violence. For instance, he contrasts Fortuyn's fate with other cases of political smearing, like historical Dutch examples (e.g., the 1672 character assassination of the De Witt brothers via pamphlets, which fueled mob violence). His X bio—"Für die Freiheit und gegen Denkverbote!" (For freedom and against thought bans!)—underscores his advocacy against censorship and defamation as tools of control.

In an era of polarized discourse, Theuninck's lens on character assassination as a "prelude" resonates amid rising concerns over political violence. Recent events, like the 2025 assassination of conservative activist Charlie Kirk, highlight similar patterns: online demonization followed by targeted attacks, amplifying fears for public figures across the spectrum. Theuninck's art serves as a cautionary abstract, urging reflection on how words weaponize before bullets do.

Artificial Intelligence by Jan Theuninck, 2025

Jan Theuninck argues that AI is not only bureaucratic but also ideologically formative: it determines what we know, think, and even imagine. He warns that AI is not neutral—it shapes our perception of the world, and does so in a way that shuts us off from alternative ideas or critical reflection. This implies that technology influences not only our actions but also our thinking space. And this raises fundamental questions about freedom, consciousness, and the role of human autonomy in an increasingly algorithmically driven society.

Theuninck uses his art to comment on contemporary issues, so this piece reflects on AI’s impact on society, ethics, human identity: it’s reasonable to assume it aligns with his signature approach -> provocative, symbolic, and open to interpretation.  He is best known for his paintings depicting the evolution of Western totalitarianism. He explores how conditions and systems influence our governments and politics, highlighting the decline of civil and personal liberties.

Algorithms now preemptively determine what information reaches us, AI creates personalized perception caves, and educational technology applies behavioristic methods on a large scale, making certain ideas literally unthinkable by ensuring they never enter our consciousness.

-------------------------------------------------------------------------------------------------

"The marriage of Orwell and Kafka" Palantir, the data integration platform that connects AI models to create risk assessments. The risk score makes the unsuspecting citizen guilty until proven innocent. -> inquisition Citizens risk becoming entangled in Kafkaesque processes as a result of the Orwellian combination of data collected by the government.
--------------------------------------------------------------------------------------------------------------

 "We are being closely observed by the bureaucratic monster in 'automatic mode' (cfr Palantir, NCTC) and, if necessary, sidelined when the system indicates it's necessary. It's not humans who make decisions about us, but AI algorithms. This is the state of the rule of law: terminal." (Dr. Jan Bonte, neurologist) AI will come out as the “hero” and humans will be driven into the arms of AI-managed government. and...A.I. is used for censorship, used in "no touch torture" weapons, etc 

 The line between real and fake is gone and people are loving it.

----------------------

According to the World Economic Forum's Nita Farahany, brain sensors embedded in headphones and other devices will soon be keeping tabs on your brain activity.: This technology should use artificial intelligence to recognize fundamental mental states such as fatigue, attention, emotions or even cognitive overload : is that a future you want to live in ?
------------------------------------------

In August 2025, Jan Theuninck believes AI companies are likely causing a stock market bubble. For example, OpenAI announced at the end of its earnings week that it had raised $8.3 billion in investment, part of a planned $40 billion round of funding, valuing the startup, whose ChatGPT chatbot launched in 2022, at $300 billion! (while the company isn't making a profit).
-----------------------------------------------------------

knowledge chain reaction(KCR) - like a nuke ? (Loss of control over superintelligent systems)
------------------------------------------------------------------

David Icke, September 5, 2025 :
I said that Trump was put in power to front up the AI oligarch takeover of society with artificial intelligence and that's exactly what he's doing - with the oligarchs driving the policy and direction. Here are many at a White House dinner yesterday - including Trump AI 'czar' David Sacks, Meta founder Mark Zuckerberg, Apple CEO Tim Cook, Microsoft founder Bill Gates, OpenAI founder Sam Altman, Google CEO Sundar Pichai and Microsoft CEO Satya Nadella. Clear your mind of all the diversions and this is the thrust of the whole Trump regime - installing the AI control system on every level. ------------------------------------------------------------------------------
Carnegie Council for Ethics in International Affairs:
https://www.carnegiecouncil.org/media/article/automating-the-banality-and-radicality-of-evil

Are We Automating the Banality and Radicality of Evil?

• Artificial Intelligence & Equality Initiative
  In the rush to roll out generative AI models and technologies, without sufficient guardrails or regulations, individuals are no longer seen as human beings but as datapoints, feeding a broader machine of efficiency to reduce cost and any need for human contributions. In this way, AI threatens to enable both the banality and the radicality of evil, and potentially fuels totalitarianism. Any tools created to replace human capability and human thinking, the bedrock upon which every civilization is founded, should be met with skepticism—those enabling totalitarianism, prohibited, regardless of the potential profits, just as other scientific advances causing harm have been.
  -------------------------------------------------------------------------------------------------------
  An aspect of AI that enables the banality of evil is the outsourcing of information and data management to an unreliable system...
  -----------------------------------------------------------
  
  

Le Chameau by Jan Theuninck, 2024 - (draft)

 13 x 18 cm - (design 1978)

Blackmail Ring by Jan Theuninck, 2025

 

acrylic on canvas, 70 x 100 cm

First of all chemical weapons are used by state criminals
to cut the resistance of their targets.When it doesn't work
they use 'no touch torture' weapons to neutralize them.
Please note that those state criminals abuse
their own children in an attempt to achieve a blackmail result.

--------

It's darker than you can imagine:
https://www.frontnieuws.com/het-is-donkerder-dan-je-je-kunt-voorstellen/

Blackmail Ring is part of a broader body of work addressing themes of manipulation, power, and abuse. Theuninck’s art, including this piece, appears to comment on alleged blackmail schemes, such as those he associates with political or institutional corruption, as seen in his critiques of "Western totalitarianism" and "communitarianism of the New World Order".

In 1983 they sent an officer to meet Jan Theuninck in Ypres, Belgium to tell/threat him they were going to play blackmail games with him, That officer didn't tell they used all kind of chemical products(weapons) in an attempt to try to criminalise him. -  note that "games" is an euphemism to hide their criminal operations e.g. a couple of years ago, in Ninove, Belgium, Jan Theuninck confronted an agent with their use of an energy weapon on his smartphone: he replied it were "games" ; Theuninck told him it are dirty Gestapo games. Early 2025 a French-speaking agent came to say that he was part of a program !

Puppets by Jan Theuninck, 2025

 

The gruesome discovery that the puppets have
fallen into the wrong hands...
acrylic on canvas, 70 x 100 cm

 Jan Theuninck’s artwork titled Puppets is a striking piece that reflects his signature abstract and politically charged style. Created in 2025, the painting measures 70 x 100 cm and is described as portraying “the gruesome discovery that the puppets have fallen into the wrong hands”. That ominous phrase hints at themes of manipulation, control, and perhaps societal or political critique—recurring motifs in Theuninck’s broader body of work. If you're intrigued by this piece, you might also enjoy exploring his other works like Victim Blaming, Diplomacy, or Nanothermite Dust, which continue his exploration of power structures and resistance

---------------------------------

...to reduce the world to vassals in the name of freedom...

Wappie by Jan Theuninck, 2025

 

acrylic on canvas, 70 x 100 cm

De laatste jaren is duidelijk geworden dat onze taal
verrijkt werd met een aantal nieuwe woorden en
uitdrukkingen die de veranderingen binnen onze
samenleving beter beschrijven.

The term "wappie" is a Dutch slang term often used pejoratively to describe people who hold unconventional or conspiracy-related views, particularly during the COVID-19 pandemic. There is no direct evidence from the provided sources that Jan Theuninck is explicitly associated with the "wappie" label in the context of conspiracy theories or anti-establishment movements. However, some of his recent artwork includes titles like Wappie (2025), Holovaxx (2022), Aryan Corona Passport, and The Great Reset. These titles suggest a critical stance on contemporary socio-political issues, including themes that might resonate with groups labeled as "wappies" by critics, such as skepticism toward globalism or public health policies.Theuninck’s broader oeuvre reflects a consistent anti-totalitarian and anti-communitarian perspective, critiquing systems that he believes erode individual freedoms. For example, his painting Fagospatose (2001) and The Third Way is No Way (2004) criticize political movements like the Third Way associated with figures like Clinton and Blair, which he has likened to a form of modern National Socialism. This aligns with his self-described mission of "poésie engagée" (engaged poetry), where he sees poetry and art as a duty to challenge societal control and conformity.While Theuninck’s work engages with controversial themes, the "wappie" label seems to stem from specific artwork titles rather than a public persona explicitly tied to conspiracy movements. His focus appears to remain artistic and ideological, rooted in his long-standing critique of power structures, rather than aligning directly with the populist or conspiracist connotations of "wappie.






.

Victim Blaming by Jan Theuninck, 2025

 

acrylic on canvas, 70 x 100 cm

Victim blaming is any response that explicitly states or implies that the victim is to blame for the abuse they have experienced: victim blaming often revolves around actions that a victim could have taken, or not taken, to avoid experiencing abuse. My observations made it clear that victim blaming also makes part of the blackmail system, using chemical products. Psychology is also an important tool in the submission apparatus:

-----------------------------------------------------------------------------------------------------------

<<Severe personality problems find *camouflage.* No one thinks "I'm a sadist" or "I'm a malignant narcissist."

They find a belief system/social group that validates their most hateful, destructive impulses & construes them as virtues.

The most toxic and hateful people in the world are 100% convinced they fight for what is true and right.

For colleagues looking for more theoretical explanation, the psychological processes are splitting, projection & projective identification. Splitting means not recognizing one's own capacity for hate, cruelty, and destructiveness. The person is blind to the bad in themselves.

Instead, they project the badness onto some designated other. And this other person, via the defense of projection, is now seen as the repository of all that is bad and evil and necessary to destroy. That's the projection.

The person now feels fully justified in unleashing

their viciousness and hate on the other person, who is now seen (via projection) as someone monstrous who must be destroyed. If the person who is projected on responds to the provocation with anger, this is now seen as further confirmation of how hateful and destructive they are (this is what is called is "projective identification.") The end result is that the person can deny their own sadism, cruelty, and hate—while simultaneously acting it out without restraint. And feel themselves to be 100% on the side of truth and right as they do it.>>

Prof Jonathan Shedler

Eavesdropping by Jan Theuninck, 2025

 

or how they are listening to the people

Jan Theuninck, a Belgian abstract painter and poet born in Zonnebeke on June 7, 1954, is known for his thematic explorations of historical and contemporary issues. His work often delves into the legacies of World War I, colonialism (both old and new), international migration, pacifism, the Holocaust, and the Jewish experience. Theuninck's style is abstract, using acrylic on canvas to evoke emotional and political commentary through layered, evocative forms."Eavesdropping," created in 2025, is one of his recent pieces that fits this vein, critiquing modern surveillance and state overreach. The painting visually interprets themes of intrusion and control, drawing parallels to revelations by whistleblowers like Edward Snowden about unlawful government surveillance programs. The artist himself describes the work as a reflection on "how they are listening to the people," highlighting the tension between loyalty and perceived criminality in an era of mass data collection.

The courts have ruled repeatedly that the programs Snowden revealed were unlawful, and likely unconstitutional—a violation of your rights. - what they call loyalty is a crime.