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simak juga ulasannya Who Paid the Piper?: The CIA and the Cultural Cold War
Who Paid the Piper? – Wikipedia
The British edition, titled Who Paid the Piper? The CIA and the Cultural Cold War, was published in 1999 by Granta Books (London).[5] The American edition, titled The Cultural Cold War: The CIA and the World of Arts and Letters, was published in 2000 by The New Press.[6] (wikipedia)
baca First Chapter: ‘The Cultural Cold War’
Who Paid the Piper: The CIA and the Cultural Cold War – James Petras
Monthly Review
The CIA’s cultural campaigns created the prototype for today’s seemingly apolitical intellectuals, academics, and artists who are divorced from popular struggles and whose worth rises with their distance from the working classes and their proximity to prestigious foundations. The CIA role model of the successful professional is the ideological gatekeeper, excluding critical intellectuals who write about class struggle, class exploitation and U.S. imperialism—“ideological” not “objective” categories, or so they are told.
Hey, Mister, you want dirty book? – Edward Said
London Review of Book Vol. 21 No. 19 · 30 September 1999
Fin-de-siècle globalisation is, however, a stickier, more encompassing element for the intellectual to function in than the Cold War. For the individual critical consciousness the pursuit of freedom is rather like Yeats’s ‘struggle of the fly in marmalade’, a daunting, perhaps impossible aspiration, especially for those humanists or literary intellectuals who no longer feel they can retreat to a privileged Arnoldian sanctuary, or take strength from a grand narrative of enlightenment and emancipation. The task is to provide as much material as can be assembled from alternative sources (today’s mainstream media being nearly useless for that purpose) and to apply universal norms of justice to overweening power and unchecked market economics. In this, I think, personal witness and effort must bear a disproportionate share of the work. A growing library on the insidious intellectual abuses of American power is greatly enhanced by Saunders’s excellent book.
America’s Secret Weapon – The New York Time Books
A study of how the C.I.A. sponsored modern art exhibitions and literary journals during the cold war.
JOSEF JOFFE
Yet there was a time when Washington was guilty of such un-American activities in spades. With $166,000 (worth more than a million of today’s dollars), the American taxpayer in 1952 dispatched the Boston Symphony to Europe on a glorious tour that helped establish the Bostonians as among the best in the world. Mark Rothko, Jackson Pollock, David Smith — artists of the school that came to be known as Abstract Expressionism — were thrust into global fame with help from the feds. Except that the funds were supplied indirectly and clandestinely, with the Congress for Cultural Freedom the main channel and the Central Intelligence Agency the ultimate donor.
Frances Saunders talked about how the Central Intelligence Agency created the Congress for Cultural Freedom in 1947 as a secret program of cultural propaganda in Western Europe. The program focused on creating and sponsoring pro-American arts and literature. Following her remarks she answered questions from the audience. Frances Saunders is the author of The Cultural Cold War: The CIA and the World of Arts and Letters, published by the New Press. (5-23-2000)
simak pula
[Tinjauan Buku / Review] Finks : Bagaimana CIA Mengelabuhi Para Penulis Besar Dunia / Finks: How the CIA Tricked the World’s Best Writers.
*keterlibatan CIA kasus Indonesia – diulas dalam buku Kekerasan Budaya Pasca 1965
simak 1500 ‘entry’ lainnya pada link berikut
Daftar Isi Perpustakaan Genosida 1965-1966
Road to Justice : State Crimes after Oct 1st 1965 (Jakartanicus)
Definisi yang diusulkan D. Nersessian (2010) untuk amandemen/ optional protocol Konvensi Anti-Genosida (1948) dan Statuta Roma (2000) mengenai Pengadilan Kejahatan Internasional. (disalin dari Harry Wibowo)
Perpustakaan Online Genosida 1965-1966 