Monday, June 26, 2017

School of Life Monday:
POLITICAL THEORY - John Maynard Keynes


John Maynard Keynes was arguably the greatest economist of the 20th century. He discovered the idea that governments should stimulate demand during economic downturns – and was the creator of both the IMF and the World Bank.

Sunday, June 25, 2017

Modern art was CIA 'weapon'

from the INDEPENDENT

Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War

By Frances Stonor Saunders
For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art - President Truman summed up the popular view when he said: "If that's art, then I'm a Hottentot." As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.

Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

The existence of this policy, rumoured and disputed for many years, has now been confirmed for the first time by former CIA officials. Unknown to the artists, the new American art was secretly promoted under a policy known as the "long leash" - arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.

The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.

The next key step came in 1950, when the International Organisations Division (IOD) was set up under Tom Braden. It was this office which subsidised the animated version of George Orwell's Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra's international touring programme. Its agents were placed in the film industry, in publishing houses, even as travel writers for the celebrated Fodor guides. And, we now know, it promoted America's anarchic avant-garde movement, Abstract Expressionism.

Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled.

The US government now faced a dilemma. This philistinism, combined with Joseph McCarthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s. To resolve this dilemma, the CIA was brought in.

The connection is not quite as odd as it might appear. At this time the new agency, staffed mainly by Yale and Harvard graduates, many of whom collected art and wrote novels in their spare time, was a haven of liberalism when compared with a political world dominated by McCarthy or with J Edgar Hoover's FBI. If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.

Until now there has been no first-hand evidence to prove that this connection was made, but for the first time a former case officer, Donald Jameson, has broken the silence. Yes, he says, the agency saw Abstract Expressionism as an opportunity, and yes, it ran with it.

"Regarding Abstract Expressionism, I'd love to be able to say that the CIA invented it just to see what happens in New York and downtown SoHo tomorrow!" he joked. "But I think that what we did really was to recognise the difference. It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions.

"In a way our understanding was helped because Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another."

To pursue its underground interest in America's lefty avant-garde, the CIA had to be sure its patronage could not be discovered. "Matters of this sort could only have been done at two or three removes," Mr Jameson explained, "so that there wouldn't be any question of having to clear Jackson Pollock, for example, or do anything that would involve these people in the organisation. And it couldn't have been any closer, because most of them were people who had very little respect for the government, in particular, and certainly none for the CIA. If you had to use people who considered themselves one way or another to be closer to Moscow than to Washington, well, so much the better perhaps."

This was the "long leash". The centrepiece of the CIA campaign became the Congress for Cultural Freedom, a vast jamboree of intellectuals, writers, historians, poets, and artists which was set up with CIA funds in 1950 and run by a CIA agent. It was the beach-head from which culture could be defended against the attacks of Moscow and its "fellow travellers" in the West. At its height, it had offices in 35 countries and published more than two dozen magazines, including Encounter.

The Congress for Cultural Freedom also gave the CIA the ideal front to promote its covert interest in Abstract Expressionism. It would be the official sponsor of touring exhibitions; its magazines would provide useful platforms for critics favourable to the new American painting; and no one, the artists included, would be any the wiser.

This organisation put together several exhibitions of Abstract Expressionism during the 1950s. One of the most significant, "The New American Painting", visited every big European city in 1958-59. Other influential shows included "Modern Art in the United States" (1955) and "Masterpieces of the Twentieth Century" (1952).

Because Abstract Expressionism was expensive to move around and exhibit, millionaires and museums were called into play. Pre-eminent among these was Nelson Rockefeller, whose mother had co-founded the Museum of Modern Art in New York. As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows.

The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.

Now in his eighties, Mr Braden lives in Woodbridge, Virginia, in a house packed with Abstract Expressionist works and guarded by enormous Alsatians. He explained the purpose of the IOD.

"We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do, and what you must paint, which was what was going on in the Soviet Union. I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War."

He confirmed that his division had acted secretly because of the public hostility to the avant-garde: "It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret."

If this meant playing pope to this century's Michelangelos, well, all the better: "It takes a pope or somebody with a lot of money to recognise art and to support it," Mr Braden said. "And after many centuries people say, 'Oh look! the Sistine Chapel, the most beautiful creation on Earth!' It's a problem that civilisation has faced ever since the first artist and the first millionaire or pope who supported him. And yet if it hadn't been for the multi-millionaires or the popes, we wouldn't have had the art."

Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA.

But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.

* The full story of the CIA and modern art is told in 'Hidden Hands' on Channel 4 next Sunday at 8pm. The first programme in the series is screened tonight. Frances Stonor Saunders is writing a book on the cultural Cold War.

Covert Operation

In 1958 the touring exhibition "The New American Painting", including works by Pollock, de Kooning, Motherwell and others, was on show in Paris. The Tate Gallery was keen to have it next, but could not afford to bring it over. Late in the day, an American millionaire and art lover, Julius Fleischmann, stepped in with the cash and the show was brought to London.

The money that Fleischmann provided, however, was not his but the CIA's. It came through a body called the Farfield Foundation, of which Fleischmann was president, but far from being a millionaire's charitable arm, the foundation was a secret conduit for CIA funds.

So, unknown to the Tate, the public or the artists, the exhibition was transferred to London at American taxpayers' expense to serve subtle Cold War propaganda purposes. A former CIA man, Tom Braden, described how such conduits as the Farfield Foundation were set up. "We would go to somebody in New York who was a well-known rich person and we would say, 'We want to set up a foundation.' We would tell him what we were trying to do and pledge him to secrecy, and he would say, 'Of course I'll do it,' and then you would publish a letterhead and his name would be on it and there would be a foundation. It was really a pretty simple device."

Julius Fleischmann was well placed for such a role. He sat on the board of the International Programme of the Museum of Modern Art in New York - as did several powerful figures close to the CIA.

Saturday, June 24, 2017

Stormchaser films a new cloud type during spectacular sunset

from Boing Boing:

Earlier this month, stormchasing photographer Mike Olbinski witnessed stunning and rare undulatus asperatus clouds roiling above the setting sun. 4K and headphones highly recommended.

Friday, June 23, 2017

Another incredible scary vision from Steve Cutts
kinda fucked up friday

via Moby's new music video:



Bonus slide show:



and his original classic with over 20 million views:

Thursday, June 22, 2017

ELECTRIC BLUE HEAVEN

from The Surfers journal


Introducing Globe's ELECTRIC BLUE HEAVEN, a short, conceptual film featuring Dion Agius in the WORLD'S BEST WAVE POOL! Read on to know more...
A few weeks back, Dion Agius and crew embarked on a journey to an unknown land. A journey for waves. A journey that would bring Dion to unleash on the world's best man made wave. A studio for surfing. Smack in the middle of a desert mountain range in a foreign land.
There was a concept. A concept involving 10 Russian models, a Lamborghini, and Dion boosting virtually every air in the book, plus a couple new ones. Electric blue water contrasting against wild mountainous backdrops.
A story was captured. Captured through the lenses of Joe G, DJ Struntz, Beren Hall, and Grady Archbold. Motion & Still. Film & HD. The story will be told through the pages of our global media partners and through this short film directed by Joe G.
WWW.GLOBE.TV

Wednesday, June 21, 2017

Thinking is a group activity

from Boing Boing:



Most of us vastly overestimate our understanding of how things work. We think we know more than we do. Why? Because we get by with a little help from our friends. (Sorry.) Cognitive scientists Steven Sloman and Philip Fernbach explore why we think we're so smart in a new book titled The Knowledge Illusion: Why We Never Think Alone. Over at Scientific American, Gareth Cook interviews Sloman about how thinking turns out to be more of a community activity.
TELL ME MORE ABOUT THIS IDEA THAT WHAT WE KNOW IS “SOCIAL”?

People fail to distinguish the knowledge that’s in their own heads from knowledge elsewhere (in their bodies, in the world, and—especially—in others’ heads). And we fail because whether or not knowledge is in our heads usually doesn’t matter. What matters is that we have access to the knowledge. In other words, the knowledge we use resides in the community. We participate in a community of knowledge. Thinking isn’t done by individuals; it is done by communities. This is true at macro levels: Fundamental values and beliefs that define our social, political, and spiritual identities are determined by our cultural communities. It is also true at the micro-level: We are natural collaborators, cognitive team-players. We think in tandem with others using our unique ability to share intentionality.

Individuals are rarely well-described as rational processors of information. Rather, we usually just channel our communities.
The Knowledge Illusion: Why We Never Think Alone (Amazon)

Tuesday, June 20, 2017

New York Public Library turns subway cars into mobile ebook libraries

from Boing Boing:


Ten MTA cars have been outfitted as Subway Libraries by the New York Public Library: the in-car wifi connects riders to an e-reading repository containing "books, short stories, chapters and excerpts donated by publishers to the New York Public Library."

It's just one of the many excellent ways that NYPL is leading on ebooks, from lending patrons wireless hotspots ("borrow the entire internet!") to the world's greatest elending platform, to the world-beating public domain repository to the amazing, wall-climbing book-train!
“It used to be that you were ‘unplugged’ on the subway, and even though you’re connecting to the wireless now, you’ll still have the sense of being unplugged when reading books,” said Lynn Lobash, manager of reader services for the New York Public Library. “It’s a lot different than the frantic sense of checking your email or being on Twitter.”
Subway Library [NYPL]

New York Today: A City Library, on the Subway [Alexandra S Levine/New York Times]

Monday, June 19, 2017

School Of Life Monday:
Is There an Alternative to Political Correctness?


Political correctness aims for some very nice results, but its means have a habit of upsetting a lot of people. Might there be an alternative to it? We think there is, and it’s called Politeness.

“Political Correctness is, in many ways, an extraordinary and admirable achievement of our age. It involves an acute sensitivity to the suffering of minority groups traditionally overlooked by the dominant forces in society – and a commitment to teasing out examples of adversity in the large but also the small moments of daily life. Its aim is to spread empathy, justice and fairness...”




Saturday, June 17, 2017

MC5 - Long Lost video number three from Wayne Kramer

from Dangerous Minds:
Rounding out the trio is a fan-shot video taken at the Gibus Club in Paris in 1972. The video is pretty muddy but the audio is not so terrible. Noteworthy here is that Fred “Sonic” Smith is wearing his superhero getup—as Kramer writes, “Enjoy Fred in his Sonic Smith suit!” Only two songs here but both are a treat: “Kick Out the Jams” and “Black to Comm,” one of their perennial jams going back to when the band were all still teenagers.



Rare Performance Footage of Wayne Kramer's #MC5 Performing "Kick Out The Jams" and "Black To Comm" w/ Fred Smith in Sonic Smith suit. Unedited, original camera transfer. First-time ever published; Mastered, Unedited Audio. Wayne Kramer, Fred Smith, Rob Tyner, Dennis Machine Gun Thompson, Steev Moorhouse. ©Wayne Kramer 1972/2017

Friday, June 16, 2017

MC5 - Long Lost video number two from Wayne Kramer

from Dangerous Minds:
[This] second clip, and certainly the most satisfying from the perspective of an MC5 fan who wants to rock out, was shot at Wayne State University’s Tartar Field on July 19, 1970. We actually posted a version of this footage last year. The band plays “Ramblin’ Rose,” “Kick Out the Jams,” being the first two songs off of the MC5’s first album Kick Out The Jams from 1969 and then “Looking at You” from the 1970 follow-up Back in the USA. This was the first-ever live performance of that song, it seems. This concert was recorded by multiple cameras, and it looks and sounds great.

FUCK YEAH!

Thursday, June 15, 2017

MC5 - Long Lost video number one from Wayne Kramer

from Dangerous Minds:
Don’t look now, but it seems that Wayne Kramer, of the legendary MC5, has suddenly discovered his YouTube account and decided to use it to showcase some killer footage of the band from its heyday. Over the last three weeks he’s uploaded a handful of videos on his Facebook presence as well as his YouTube account. It’s going to be worth keeping an eye on his account for the next weeks and months.

The earliest video from a chronological perspective is a short compilation of DASPO-CONUS footage of the 1968 Democratic National Convention. DASPO was the Department of the Army Special Photographic Office, the “CONUS” bit means “Continental United States.” DASPO recorded footage from the Vietnam conflict as well. This is a true compilation—there’s no audio and it’s just a mishmash of different images, quite interesting actually even if the MC5 only pop up for a few moments. Around the 29-second mark there is a clip of a folk singer performing in the middle of a crowd of people—the singer is Phil Ochs—and then a few seconds later, there’s the MC5 in a similar setting. As I said, there’s no audio: unfortunately it seems that the Army was callously insensitive to the needs of audio bootleggers. According to Kramer, this footage has never been published before. The YouTube caption indicates that the footage has been sync’d to “Wayne Kramer’s original underscore musical compositions.”



Wednesday, June 14, 2017

The Putin and Oliver Stone interviews


19 Teasers should play back to back once you hit play.





But this Steven Colbert interview may also give some insight...