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Topic: Congress for Cultural Freedom

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	Peter Coleman's The Liberal Conspiracy
		The Congress continued into the 1960s, broadening its focus to lay the basis of an international community of liberal and democratic intellectuals.
		Its successor organisation, the International Association for Cultural Freedom, never recaptured the élan or equaled the achievements of the earlier Congress.
		I was a member of the Australian outpost of the Congress for Cultural Freedom - the Australian Association for Cultural Freedom - and had just been appointed editor of the Australian magazine associated with the Congress, Quadrant.
	www.the-rathouse.com /Colemanlibconspiracy.html (665 words)

	Association for Cultural Freedom - Wikipedia, the free encyclopedia
		The Congress for Cultural Freedom (CCF) was an anti-communist advocacy group founded in 1950.
		The Congress was founded at the Titania Palace in West Berlin on 26 June, 1950 to find ways to counter the view that liberal democracy was less compatible with culture than communism.
		In the early 1960s, the CCF mounted a campaign to discredit the Chilean poet Pablo Neruda, an ardent communist.
	en.wikipedia.org /wiki/Congress_for_Cultural_Freedom (551 words)

	Michael Josselson Papers
		Some CCF materials he gathered to prepare a history of the Congress do give insight to the organization's formation in 1950 and its early activities, as does one folder of personal letters selected by Josselson for his daughter Jennifer's viewing.
		Congress for Cultural Freedom (CCF) files are organized into four subseries: A. Subject files; B. History; C. Publications; and D. Conferences.
		CCF administrative and financial records can be found in small amounts in the Audits and Ford Foundation files, and biographies of CCF personnel are also present.
	www.hrc.utexas.edu /research/fa/josselson.html (2554 words)

	Commentary Magazine - Berlin Congress for Freedom (Site not responding. Last check: 2007-10-14)
		...THE Congress had, it must be recalled, 1 been conceived in a spontaneous communion of thought of several participants in a "congress for culture" held the previous November in the calm and idyllic city of Lausanne-Melvin Lasky, editor of Der Monat, David Rousset, and Carlo Schmid were three of the people involved...
		...The aim of the Congress was to demonstrate to the world the need of unity of all intellectual forces in the face of totalitarianism, and the vital dependence of cul- ture upon freedom and the political institutions which permit and safeguard freedom...
		...He proposed that the Congress promote a continuation of the UNESCO inquiry by private means, in order to reveal the plight of the artist in the totalitarian state, while at the same time not forgetting his plight and his difficulties in the freer states as well...
	www.commentarymagazine.com /Summaries/V10I3P51-1.htm (3729 words)

	Congress for Cultural Freedom - SourceWatch
		In 1967, it was revealed that it was established and funded by the United States Central Intelligence Agency, and it was subsequently renamed the International Association for Cultural Freedom (IACF).
		Congress for Cultural Freedom profile from the Modern History Project.
		Ambassador David J. Fischer [2], "Origins of the Congress for Cultural Freedom, 1949-50," International Relations Department, San Francisco State University, undated: "This article is an excerpt from a larger classified draft study of CIA involvement with anti-Communist groups in the Cold War.
	www.sourcewatch.org /index.php?title=Congress_for_Cultural_Freedom (356 words)

	SOP Cultural Resources
		Cultural resource managers and other park staff share an appreciation and responsibility for preserving resources as outlined in law and policy.
		Cultural landscapes are evaluated under National Register criteria, and their values are preserved and interpreted to the public.
		A park curator, an archivist, and part-time librarians oversee protection of the park’s historical and library record in existing facilities that are old, cramped, and fail to meet modern safety and preservation standards.
	www.yellowstonenationalpark.com /sopculture.htm (2867 words)

	Green Left - The CIA's covert cultural war
		The Australian branch of the CCF, the Australian Committee for Cultural Freedom (ACCF), owed its existence to the CIA.
		Universal suspicion of CIA involvement attended the birth of the CCF, except amongst the beneficiaries who, stumbling on the CIA manna from heaven, suspended their critical faculties in their religious adoration of anti-communist “freedom”.
		But, as the fling with the CIA showed, the liberal intelligentsia were marked by their acceptance of capitalist power, a willful blindness to the role of the state in protecting that power, an uninquisitive embrace of anti-communist ideology, a veneration of individualism and a liking for the material perquisites of power.
	www.greenleft.org.au /1999/386/17997 (1236 words)

	Human Rights Watch: Economic, Social and Cultural Rights
		The congress, which meets annually and is attended by more than 3,000 delegates, is meeting through March 15.
		Human Rights Watch considers that economic, social, and cultural rights are an integral part of the body of international human rights law, with the same character and standing as civil and political rights.
		We conduct research and advocacy on economic, social, and cultural rights using the same methodology that we use with respect to civil and political rights and subject to the same criteria, namely, the ability to identify a rights violation, a violator, and a remedy to address the violation.
	hrw.org /doc/?t=esc (1462 words)

	The Congress for Cultural Freedom - CIA Covert Operations in the European Arts Scene
		The Congress for Cultural Freedom--despite the embarrassing exposure of its CIA sponsorship in 1967--ultimately helped to negate Communism's appeal to artists and intellectuals, undermining at the same time the Communist pose of moral superiority.
		The Congress itself sprang from a conference of intellectuals in West Berlin in June 1950, a gathering that itself marked a landmark in the Cold War.
		In addition, the congress could be used to bring about the creation of some sort of permanent committee, which, with a few interested people and a certain amount of funds, could maintain the degree of intellectual and rhetorical coordination expected to be achieved in Berlin.
	www.bilderberg.org /ccf.htm (10913 words)

	Amazon.ca: The Cultural Cold War: The CIA and the World of Arts and Letters: Books: Frances Stonor Saunders (Site not responding. Last check: 2007-10-14)
		Just as importantly, she is alert to the ironies of a Congress that preaches artistic freedom, yet whose publications refuse to include material critical of U.S. policy or objectives.
		Stonor's process of contacting and interviewing family members of those who played some role in the "Congress for Cultural Freedom" deserves praise and projects the sense of an open society that, today, is far more open than those whose machinations created the CCF could have ever imagined, or, wanted, for that matter.
		Then too, Stonor's focus on the CCF leaves out another key element of the U.S. "kulturkampf" strategy, namely, the issue of "journalistic cover." This is an area where an individual with Stonor's keen investigative talents could unearth a goldmine of information that would have relevance and demand accountability today.
	www.amazon.ca /Cultural-Cold-War-World-Letters/dp/1565846648 (1575 words)

	1950-today: Corporate and state intervention in the arts \| libcom.org
		The Congress for Cultural Freedom was therefore characterised by two main approaches: channelling state money through private sponsorship in order to prevent any artists involved noticing the CIA's involvement, and funding “progressive” art, loosely aligned with the Non-Communist Left.
		Both to show how culturally progressive the West was, and to try to increase the status of artists aligned with the NCL over those who supported the Soviets.
		The Congress was shut down quite quickly in 1967, after revelations came out about agents in its employ and its source of funding, mainly concerning the flagship Encounter magazine.
	libcom.org /history/articles/cultural-cold-war (1626 words)

	mhp: The Congress for Cultural Freedom
		The presence of Lord Bertrand Russell as one of five honorary chairmen of the CCF was emblematic of this mission at the CCF's inception.
		Fascist culture was embraced as the weapon-of-choice in the Cold War battle of ideas, and the Congress for Cultural Freedom was the chosen Anglo-American vehicle for the cultural "re-Nazification."
		CCF was created under the auspices of Wisner, who was then heading the Office of Policy Coordination at the State Department, which later transferred to the CIA as the covert action section.
	www.modernhistoryproject.org /mhp/ArticleDisplay.php?Article=Kulturkampf&Entity=HuxleyAL (6574 words)

	Foreign Affairs - Book Review - The Liberal Conspiracy: The Congress For Cultural Freedom And The Struggle For The Mind ... (Site not responding. Last check: 2007-10-14)
		The activities of the Congress for Cultural Freedom constitute an important and controversial chapter in the intellectual and political history of Western Europe after World War II.
		Founded in 1950 in the aftermath of a series of Soviet-sponsored international "peace" conferences, the congress sought to combat the appeal of communist propaganda to intellectual and student circles.
		By the mid-1960s, with the Vietnam War, détente and the transformation of the liberal-conservative debate, it had lost some of its support; the final death knell was sounded with the revelations of CIA funding.
	www.foreignaffairs.org /19891201fabook7695/peter-coleman/the-liberal-conspiracy-the-congress-for-cultural-freedom-and-the-struggle-for-the-mind-of-postwar-europe.html?mode=print (185 words)

	Monthly Review November 1999 James Petras
		The Congress for Cultural Freedom and its enlightened intellectuals were funded by the same CIA operatives who hired Marseilles gangsters to break the dockworkers' strikes in 1948.
		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 singular lasting, damaging influence of the CIA's Congress of Cultural Freedom crowd was not their specific defenses of U.S. imperialist policies, but their success in imposing on subsequent generations of intellectuals the idea of excluding any sustained discussion of U.S. imperialism from the influential cultural and political media.
	www.monthlyreview.org /1199petr.htm (2603 words)

	[No title] (Site not responding. Last check: 2007-10-14)
		As the U.S. affiliate of the international Congress for Cultural Freedom (CCF), the ACCF aimed to halt the spread of communism abroad, but as its records make clear, the organization was actually more preoccupied with fighting it in America.
		The first major work on the CCF was Peter Coleman’s sympathetic treatment, The Liberal Conspiracy: The Congress for Cultural Freedom and the Struggle for the Mind of Postwar Europe.
		Coleman was a member of the CCF’s Australian division; it is therefore unsurprising that he argues that the Congress played an important role in defending liberal values during the Cold War.
	oak.cats.ohiou.edu /~pach/nemethproposal.doc (1889 words)

	How 'The Sexual Congress of Cultural Fascism' Ruined the U.S.A. and Gave Us 'Beast-Man' Cheney, by Lyndon H. LaRouche, ...
		The characteristic feature of that deep moral corruption which the Roosevelt tradition's typical enemies of the Congress for Cultural Freedom came to represent, was its subversive commitment to fostering what became known as the "counterculture" launched during the middle to late 1960s.
		This development expressed CCF's commitment to uprooting all of those factors of U.S. culture which had been the determining factors of Roosevelt's leading the U.S. to economic recovery, and its leading role in the defeat of fascism.
		To that end, we expose the role and character of that Congress for Cultural Freedom which is exemplary of the circles which worked to induce us, at least many among us, to wreak such moral and economic destruction upon our nation, and such relative depravity upon ourselves.
	www.larouchepub.com /lar/2004/3125ccf_pamphlet.html (1741 words)

	American Committee for Cultural Freedom Records, 1939-1957, 1950-1957 (bulk). AIP International Catalog of Sources (Site not responding. Last check: 2007-10-14)
		Committee of prominent artists and intellectuals organized as an affiliate of the International Congress for Cultural Freedom in 1950, but with roots in a long dormant domestic organization, the Committee for Cultural Freedom (1939-1940).
		Activities and programs on behalf of cultural freedom were generally informed by the staunch anti-communist orientation associated with the height of the Cold War period.
		For the international organization, the records consist of a very small sampling of minutes and publications and a substantial array of the proceedings of conferences and congresses held all over the world from 1950 to 1956.
	www.aip.org /history/catalog/icos/6750.html (286 words)

	When the CIA financed European Intellectuals [Voltaire]
		The recruiting was guaranteed by the Parisian delegate to the Congress, a post that was occupied by New Yorker intellectual Daniel Bell, who granted research credits and scholarships (in the United States) to young European intellectuals in return for their collaboration in the anticommunist struggle.
		The leaders of the Congress made a purge in the organization with the assistance of the Ford Foundation that, since 1966, was in charge of all fundings.
		As well as the Marshall Plan, the ACUE and the military branch of the stay-behind, the Congress for Cultural Freedom helped to establish, in a stable way and in the context of the cold War, the elements that depended on American credits and who were in charge of implementing the interventionist diplomacy of Washington.
	www.voltairenet.org /article136478.html (3033 words)

	[No title]
		The CIA was able to harness some of the most vocal exponents of intellectual freedom in the West in service of these policies, to the extent that some intellectuals were directly on the CIA payroll.
		Many were knowingly involved with CIA "projects," and others drifted in and out of its orbit, claiming ignorance of the CIA connection after their CIA sponsors were publicly exposed during the late 1960s and the Vietnam war, after the turn of the political tide to the left.
		The CIA, under the prodding of Sidney Hook and Melvin Lasky, was instrumental in funding the Congress for Cultural Freedom, a kind of cultural NATO that grouped together all sorts of "anti-Stalinist" leftists and rightists.
	www.lycos.com /info/cia--cultural-freedom.html (618 words)

	The Cultural Cold War: Faust Not the Pied Piper
		The fundamentally political and ideological nature of the choices made by the CCF intellectuals during this extreme moment of the twentieth century are missed amid the tales of 'secret agents' and 'assets.' There is a heavy price to pay for telling the story of the CCF as a conspiracy story.
		Despite a philistine assault on the abstract expressionists in the U.S. Congress, led by George Dondero, the CIA realized the potential of abstraction to be manipulated as a tool in the cultural Cold War as an embodiment of western freedom contrasted sharply against grey Stalinist conformity.
		Saunders' reductive treatment of the Congress is reinforced by a tendency to treat her CIA sources rather uncritically.
	www.wpunj.edu /~newpol/issue31/johnso31.htm (5184 words)

	Commentary Magazine - The Intellectuals & the Cold War (Site not responding. Last check: 2007-10-14)
		Few in 1967 bothered to ask the pertinent question: "What was the U.S. government doing funding liberal intellectuals?" This is one of the questions that Peter Coleman attempts to answer in his new history of the Congress for Cultural Freedom, The Liberal Conspiracy.
		...In this respect the Congress followed the fashion in liberal antiCommunism that was also reflected in quite a number of the contributions to the September 1967 COMMENTARY symposium...
		...Coleman concludes his tale with the slow demise of the Congress: how in the aftermath of the revelations about its secret source of funding it reemerged temporarily as the International Association 54 of Cultural Freedom, now supported entirely by the Ford Foundation but with annually diminishing subventions, and how in January 1979 it finally dissolved...
	www.commentarymagazine.com /Summaries/V88I6P56-1.htm (1689 words)

	Giles Scott-Smith (Site not responding. Last check: 2007-10-14)
		The Politics of Apolitical Culture: The Congress of Cultural Freedom, the CIA and Post-War American Hegemony.
		The author offers an intellectual antidote to the venom often prevalent in discussing the role of the Congress of Cultural Freedom in the immediate postwar period.
		Essentially, he argues that "the Congress has become a much maligned institution since the disclosures of its intimate relationship with the CIA, and this has tended to overshadow the simultaneous developments in the wider cultural and political realms which help explain the institution's character."
	intellit.muskingum.edu /alpha_folder/S_folder/scott-smith.html (347 words)

	CRANKY INTEGRITY ON THE LEFT - New York Times
		It appears that a number of officials in the Congress for Cultural Freedom were aware of this funding, though the details are obscure.
		Nevertheless, he adds, there is no evidence to suggest that this funding came with strings attached, or that the congress would have acted differently had it been bankrolled by a private foundation.
		The basic issue that brought the Paris-New York conflict to a head and led to the de facto suspension of the American Committee early in 1957 was the idea of America itself, the assessment of American democracy.
	query.nytimes.com /gst/fullpage.html?res=950DE5D9123AF934A1575BC0A96F948260&sec=&pagewanted=print (1627 words)

	Supporting the indispensible by Peter Coleman
		This was in Paris in June 1970, the twentieth anniversary almost to the week of the foundation of the Congress in the British sector of occupied Berlin.
		The morning began slowly with dispiriting reports on cultural freedom from India and Indonesia to Uganda and Nigeria and some proposals for estimable seminars.
		And the Congress [for Cultural Freedom] would itself have been remiss if it had failed to take money which came to it from good intent and wholly without strings or conditions.
	www.newcriterion.com /archive/18/sept99/coleman.htm (1839 words)

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