As we know from the research on the CIA’s program of psychological warfare, the organization has not only tracked and sought to coerce individuals, but it has always been keen on understanding and transforming institutions of cultural production and distribution. Indeed, its study on French theory points to the structural role universities, publishing houses and the media play in the formation and consolidation of a collective political ethos. In descriptions that, like the rest of the document, should invite us to think critically about the current academic situation in the Anglophone world and beyond, the authors of the report foreground the ways in which the precarization of academic labor contributes to the demolition of radical leftism. If strong leftists cannot secure the material means necessary to carry out our work, or if we are more or less subtly forced to conform in order to find employment, publish our writings or have an audience, then the structural conditions for a resolute leftist community are weakened. The vocationalization of higher education is another tool used for this end since it aims at transforming people into techno-scientific cogs in the capitalist apparatus rather than autonomous citizens with reliable tools for social critique. The theory mandarins of the CIA therefore praise the efforts on the part of the French government to “push students into business and technical courses.” They also point to the contributions made by major publishing houses like Grasset, the mass media and the vogue of American culture in pushing forward their post-socialist and anti-egalitarian platform.
Somewhat overhauled from its appearance last year at the Joyce, Bill T. Jones’s A Letter to My Nephew continues developing, now as part of BAM’s Next Wave. A choreographer with the instincts of a preacher, Jones relates the story of his relative Lance Briggs’s struggles to subsist in an environment rife with temptations. Nine dancers enact his battles with illness and addiction, with live music by composer Nick Hallett joined by baritone Matthew Gamble, and video imagery by the company’s co-artistic director Janet Wong. The usual first-rate crew of designers — Bjorn Amelan, Robert Wierzel, Liz Prince, and Samuel Crawford — contribute respectively the set, lighting, costumes, and sound
Michel Foucault also addressed the question of the author in critical interpretation. In his 1969 essay " What is an Author? ", he developed the idea of " author function " to explain the author as a classifying principle within a particular discursive formation. Foucault did not mention Barthes in his essay but its analysis has been seen as a challenge to Barthes' depiction of a historical progression that will liberate the reader from domination by the author. Jacques Derrida paid ironic homage to Barthes's "The Death of the Author" in his essay "The Deaths of Roland Barthes".