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Dennis Redmond Biography

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“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.”

DerridaSartre2003AdornoPoststructuralismThe PrisonerNew LeftInformation Uprising
Book:The World is Watching: Video as Multinational Aesthetics, 1968-1995
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“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).”

AuthoritarianismEastern Europe2003Enemy Of The State
Book:The World is Watching: Video as Multinational Aesthetics, 1968-1995
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“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.”

Neoliberalism19682003New LeftPrague Spring
Book:The World is Watching: Video as Multinational Aesthetics, 1968-1995
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“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.”

Authoritarianism2003The PrisonerNumber 6
Book:The World is Watching: Video as Multinational Aesthetics, 1968-1995
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“…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.”

Cold WarNeoliberalismInformation AgeWall Street2003Rent Seeking
Book:The World is Watching: Video as Multinational Aesthetics, 1968-1995
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