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posted 3 years ago by nothingberg 3 years ago by nothingberg +12 / -0
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– Primate98 4 points 3 years ago +4 / -0

It turns out there are 4 levels to this particular issue, and there's one level deeper than where this paper is at. To quickly summarize:

  1. "Who cares? I've got to get the kids to school and get to work."

  2. "The CIA is involved in intelligence gathering, not modern art."

  3. (this paper) "The CIA fought a secret and brave battle against the Commies as part of the Cold War using Modern Art as a weapon." Seriously, though, does anyone still believe the CIA fought bravely against Communism or anything else bad in this world?

  4. "The CIA fought against the uplift and inspiration of humanity by destroying art itself." Sounds more like it, right? You can read all the detail here:

The Cultural Cold War (15-page PDF)

All the caveats for "Miles Mathis" apply. Here's a bonus note for advanced students of how we're all being fucked:

The mainstream admitted the CIA's involvement in Modern Art long ago. Mathis' paper focuses on Frances Stonor Saunders and her 1995 article in the London Independent and her 1999 book "Who Paid the Piper? The Cultural Cold War". Fast-forward to 2020 and the JStor article never mentions Saunders.

To quote a work with which I'm sure we're all familiar:

Every record has been destroyed or falsified, every book rewritten, every picture has been repainted, every statue and street building has been renamed, every date has been altered. And the process is continuing day by day and minute by minute. History has stopped. Nothing exists except an endless present in which the Party is always right.

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– roadkill77 2 points 3 years ago +2 / -0

'It's a beautiful thing, the destruction of words"

i could never get that line out of my head the first time i read it... long ago

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– free-will-of-choice 1 point 3 years ago +1 / -0

It's a beautiful thing, the destruction of words"

a) motion generates (inception) and destroys (life) those living within.

b) ongoing sound destroys temporary words held onto...

c) the construction of suggestible words represents ones veil of ignorance over perceivable sound.

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