The World is Watching Quotes

“No. 2’s infamous opening line is a double gambit: the Village does not really want information, of course, only obedience. (From their point of view, information is an exchange-value, not a use-value). In fact, it is No. 6 who truly wants information: information on who No. 1 is, where the Village really is, which side runs it, and how it might be possible to escape.”
― Dennis Redmond, The World is Watching: Video as Multinational Aesthetics, 1968-1995

“Heiner Müller zeroed in on this contradiction by noting ascerbically that the main economic activity of the Eastern regimes was always the production of state enemies (in other words, the system produced vast numbers of literate, well-educated workers who could not fail to notice the yawning gap between the ideal of a people’s democracy and the despotism of the one-party state).”
― Dennis Redmond, The World is Watching: Video as Multinational Aesthetics, 1968-1995

“Repression in late capitalism does not typically involve the absolute expropriation of the subject typical of liberal or monopoly capitalism (the nationalism which violently excludes other nationalities, the sexism which expropriates women’s household labor on behalf of masculinized national corporations and power-bureaucracies, the racism by which the colonies and colonized are held in subjection to the colonists, and so forth) but what might be termed its relative immiseration on the multinational marketplace of identity: thus the celebrated media superstar whose very existence depends on the implicit devaluation of non-celebrities; the CNBC-style telejournalism which reduces the global economy to the chatter of wealthy white male stockholders retailing the retailing of retailing on behalf of even wealthier (and whiter) male stockholders; or the business culture of the giant multinationals or multis, which is open to any cultural group just as long as they swear fealty to the commodity form.”
― Dennis Redmond, The World is Watching: Video as Multinational Aesthetics, 1968-1995

“The political version of this was the seemingly clearcut choice before the New Left, to either transform the Establishment from within (the Long March through the institutions envisioned by the Prague Spring reformers and Western social democrats alike), or else to instigate an actual revolution in the streets. History teaches us that both options were illusory; national social democracy could temporarily flourish in the hothouse export-platform economies of Central Europe, but a resurgent neoliberalism was about to strangle the effective global demand this model depended on and thus reactivate the latent class tensions smoothed over by the golden age of state-monopoly Keynesianism; meanwhile the national-democratic and anti-colonial revolutions in the Second and Third Worlds could defeat the US Empire’s rampaging armies with guerilla tactics, but could hardly be expected to counter the far more insidious enemy of falling raw materials prices on world markets. Neither international solidarity actions nor neo-national political disruptions were, by themselves, really capable of challenging the henceforth global habitus of multinational capitalism; only truly transnational labor and political movements would be able to do that.”
― Dennis Redmond, The World is Watching: Video as Multinational Aesthetics, 1968-1995

“The most direct critique [in the TV series The Prisoner] of what might be called the politics-industry of late capitalism, however, is undoubtedly [the episode] “Free for All”, both the funeral dirge for the national mass party and the unofficial founding charter of the New Left. In many ways, “Free for All” is the logical complement to the visual innovations and luminous mediatic strategies of “A., B. & C.”; whereas the latter identifies the space of the editing room as a new kind of cultural zone, and thus transforms a certain visual recursion into a protomorphic video library of images, the former concentrates not on the image per se but on the messages and texts transmitted by such—or what Derrida would identify as the thematic of a dissemination which is never quite identical with what is being disseminated. But where deconstruction and post-structuralism promptly sealed off this potentially explosive insight behind the specialized ghettos of linguistics or ontological philosophy, and thus unwittingly perpetuated precisely the authoritarian monopoly over theory authorized by the ontologies in the first place, the most insightful intellectuals of the New Left (most notably, Adorno and Sartre) would insist on the necessarily mediated nature of this dissemination, i.e. the fact that the narrative-industries of late capitalism are hardly innocent bystanders in the business of accumulation, but play an indispensable role in creating new markets, restructuring old ones, and ceaselessly legitimating, transacting and regulating the sway of the commodity form over society as a whole.”
― Dennis Redmond, The World is Watching: Video as Multinational Aesthetics, 1968-1995

“Secondly, there’s no question but that the speculative drive of the post-structuralisms and postmodernisms harmonized, on some deep level, with the real life financial speculations of Wall Street. At their best, the postmodernisms were the critical meditation and reflection upon those speculations (as with Jameson’s classic essay on postmodernism); at their worst, they were little more than the media-chatter of academic superstars shielded from the grim realities of economic austerity, skyrocketing tuition and rampant privatization – realities which had begun to undercut the very existence of autonomous national literary, philosophical and cultural departments, as tenured and full-time positions were slashed to make way for vast pools of contingent and adjunct academic workers.”
― Dennis Redmond, The World is Watching: Video as Multinational Aesthetics, 1968-1995

“…the end of the Cold War has brought not prosperity for all but a pitiless economic struggle for pole-position on the food chain of information capitalism. The neoliberalism and neocolonialism of the 1990s are the direct heir of the Manchester liberalism and colonialism of the 1890s, the only difference being that whereas Victorian rentiers extracted their Imperial textile-rents from the labor of the Great Unwashed, their postmodern analogues on Wall Street speculate on the viewing-rents of the Great Unwatched.”
― Dennis Redmond, The World is Watching: Video as Multinational Aesthetics, 1968-1995