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There were 39 results from your search for keyword(s): 'Gaslighting'.
- "In other words, we have to say to our owner: this is how Domani would have been had it appeared yesterday. Understood? And, if we wanted to, even if no one had actually thrown the bomb, we could easily do an issue as if."
"Or throw the bomb ourselves if we felt like it," sneered Braggadocio.
"Let's not be silly," cautioned Simei. Then, almost as an afterthought, "And if you really want to do that, don't come telling me."
Source: Numero Zero, p. 32
- "Only in 1984 does an investigating judge, Felice Casson, discover that the explosive used at Peteano came from a Gladio arms depot...And you understand that if a military secret service has three policemen blown up, it won't be out of any dislike for the police but to direct the blame at far-left extremists."
Source: Numero Zero, p. 210
- "They've started again."
He refused to exchange the happiness of the day for her paranoia. He said quietly but firmly, "That's all old hat, the west is obsessed with al-Qaida now."
"Who funds al-Qaida? Who set it up?"
He stared at her and shook his head. "I don't want to hear this."
"It's the same strategy as always. Set up arms-length organizations, wait for terrorist outrages to create instability, panic, confusion. Move in behind the inevitable backlash...it's already started for Christ's sake!"
Source: Gladio: We Can Neither Confirm Nor Deny, p. 18
- Promise me this, my child. -- The immorality of lying does not consist in the offence against sacrosanct truth. An appeal to truth is scarcely a prerogative of a society which dragoons its members to own up the better to hunt them down. It ill befits universal untruth to insist on particular truth, while immediately converting it into its opposite. Nevertheless, there is something repellent about a lie, and awareness of this, though inculcated by the traditional whip, yet throws light on the gaolers. Error lies in excessive honesty. A man who lies is ashamed, for each lie teaches him the degradation of a world which, forcing him to lie in order to live, promptly sings the praises of loyalty and truthfulness. This shame undermines the lying of more subtly organized natures. They do it badly, which alone really makes the lie a moral offence against the other. It implies his stupidity, and so serves to express contempt. Among today's adept practitioners, the lie has long since lost its honest function of misrepresenting reality. Nobody believes anybody, everyone is in the know. Lies are told only to convey to someone that one has no need either of him or his good opinion. The lie, once a liberal means or communication, has today become one of the techniques of insolence enabling each individual to spread around him the glacial atmosphere in whose shelter he can thrive.
Source: Minima Moralia, p. 30
- A useful purpose can therefore be served in the interval of so-called peace by a warning which people can examine with dispassionate calm, that the authorities in each country do, and indeed must, resort to this practice [of organized lying] in order, first, to justify themselves by depicting the enemy as an undiluted criminal; and secondly, to inflame popular passion sufficiently to secure recruits for the continuance of the struggle. They cannot afford to tell the truth. In some cases it must be admitted that at the moment they do not know what the truth is.
Source: Falsehood in War Time, p. 13-14
- Breton...writes: "The simplest Surrealist act consists of dashing down into the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd. Anyone who, at least once in his life, has not dreamed of thus putting an end to the petty system of debasement and cretinization in effect has a well-defined place in that crowd, with his belly at barrel level." Interpretations of these lines from the Second Manifesto have fueled attacks against surrealism in general, most notably Jean-Paul Sartre's charge that the movement, like Breton's statement, represented a feeble attempt to organize "revolution" around the inner dictates of the individual -- a vulgar and politically bankrupt fusion of Leninist and Freudian rhetoric. Yet Breton is not invoking the "inner dictates of the individual," nor is he simply mobilizing this act of terror as a rhetorical flourish. He means it literally, but stresses that "my intention is not to recommend it above every other because it is simple, and to try and pick a quarrel with me on this point is tantamount to asking, in bourgeois fashion, any nonconformist why he doesn't commit suicide, or any revolutionary why he doesn't pack up and go live in the USSR." Surrealism's struggle lay in reconciling its radical break from the "ideology of continuity" with its awareness that even radicalism tends toward the continuous and the familiar whenever it expresses itself in forms, such as gunshots, that are merely extensions of preexisting violence...
The group's analyses and debates about the status of violence in the modern world extended to the very question of using revolutionary violence as a political strategy. To what extent could political violence ever be distinguished from crime? How did anti colonial violence differ from terrorism, from ethnic cleansing, or from colonial wars of invasion? Such questions, central to the activities of the surrealist group throughout the movement's history, show the surrealists' dedication to a public intellectualism that confronted the most fundamental principles of revolution and avant-gardism.
Source: Surrealism and the Art of Crime, p. 7
- Disregarding two calls for jihad against US citizens signed by Osama bin Laden (in August 1996 and February 1998 respectively), as well as the ensuing campaign against US embassies and military installations (with large-scale attacks in Kenya, Tanzania, and Yemen in 1998 and 2000), the discontinuity tops relies -- at least to a certain extent -- on historical forgetting.
From chapter: Introduction by Michael C. Frank and Eva Gruber
Source: Literature and Terrorism: Comparative Perspectives, p. 5
- Effie, meanwhile, went off the rails, and when this was pointed out to her in so many words, she said 'What rails? Whose rails?'
Source: The Only Problem, p. 362-363
- Everything that allowed the genius of a people to assert itself bent more and more under the pressure of hostile forces, more or less disguised. Whatever could have been added to its assets -- the fundamental code of this people as, like it or not, it arose from its institutions -- was left in the shadows out of fear that the concept of liberty, which doesn't take well to resting, might become more demanding.
Source: Arcanum 17, p. 125
- For Crevel, Lacan's thesis was promising to the left for its understanding of paranoia as a psychotic structure that systematically accuses the very ideological forces signified by Freud's notion of "culture." This culture was repressive not simply because it beat back the death drive but because it represented the full force of bourgeois social conditioning which in the France of the early 1930s, was beginning to take on a frighteningly discernible shape: an attachment to so-called family values that sanctioned patriarchal privilege and a rampant homophobia; and an ever-present xenophobia and anti-Semitism whose deep roots in twentieth-century French culture only strengthened what Crevel and the surrealists considered to be a growing fascist sympathy among the French bourgeoisie.
The "accusation" performed by murderous exhibitionism thus does not canonize the psychotic as a revolutionary figure; insofar as the physical illness represents the moral illness that produces it, Crevel's structuralist notion of behavior as a representation allows his further ideas about political illness and oppression to be a matter of extension...Yet Crevel's version of political and psychological causality structured as a "fortuitous encounter" is particularly useful to surrealism insofar as it rethinks the causality not only of presumably legitimate revolution but of the most inexplicable, brutal, and regressive of events as well -- whether domestic murder or the growing domestic appeal of fascism.
Source: Surrealism and the Art of Crime, p. 189
- He knew that surprise does not become the magician, and is indeed apt to be fatal, for in that momentary loss of guard any attack upon the adept may succeed.
Source: All Hallows' Eve, p. 92
- How long will we have to wait for a brand new laboratory where established ideas, no matter which, beginning with the most elementary ones, the ones most hastily exonerated, will be accepted only for purposes of study, contingent on an examination from top to bottom and by definition free from all preconceptions?
Source: Arcanum 17, p. 61
- How times have changed. A decade after the Vietnam War ended, it was still possible to persuade voters that a former member of a covert torture and assassination program wasn't suitable to be a state's chief law enforcement officer. Since 9/11, it has become a badge of honor.
Source: The CIA as Organized Crime, p. 276
- In several important ways, this is inherently rife with Bretonian Surrealist experience: The inner world is transformed by the outer world. Like in the beginning of Nadja, the outer world inaugurates a drawing out of the self where the encounter with ordinary objects transforms the self. There is no question that this modality of experience can be found here; and yet, Carrington ascribes a different role to the experience by claiming that she and the world mirrored each other.
This is why Carrington's introduction of the body into the Surrealist aesthetic has such important ramifications. Over and again, Surrealists like Breton characterize the nature of Surrealist experience as one of a transformation of the mind, whereas Carrington finds the body and the mind inextricable.
Source: Disruptive Testimonies: The Stakes of Surrealist Experience in Breton and Carrington, p. 99
- It's not the news that makes the newspaper, but the newspaper that makes the news.
Source: Numero Zero, p. 60
- Job's problem was partly a lack of knowledge. He was without access to any system of study which would point to the reason for his afflictions. He said specifically, "I desire to reason with God," and expected God to come out like a man and state his case...Everybody talked but nobody told him anything about the reason for his sufferings. Not even God when he appeared. Our limitations of knowledge make us puzzle over the cause of suffering, maybe it is the cause of suffering itself...As I say, we are plonked here in the world and nobody but our own kind can tell us anything. It isn't enough. As for the rest, God doesn't tell.'
Source: The Only Problem, p. 418-419
- Lacan's attention to the historical basis of psychiatry [in Minotaure I] is meant to dislodge the practice of diagnosis from questions of criminal responsibility or irresponsibility, which risked reducing definitions of insanity to a moral choice policed by the state...For Lacan, the disciplines brought together in Minotaure -- artistic, psychiatric, and theoretical -- were all necessary to the study of mental illness, since paranoia reveals the work of signification and imagery in the formation of subjectivity, and not just within the fields of cultural and artistic production alone. Lacan's work on the Papin sisters builds on his description, in the first issue of Minotaure, of paranoiac lived experience as an "original syntax," a mode of symbolic expression that could be at once intentional and yet still determined by real social tensions.
Source: Surrealism and the Art of Crime, p. 190, 191-92
- Man, it has been said, is not "a veridical animal," but his habit of lying is not nearly so extraordinary as his amazing readiness to believe. It is, indeed, because of human credulity that lies flourish. But in war-time the authoritative organization of lying is not sufficiently recognized. The deception of whole peoples is not a matter which can be lightly regarded.
Source: Falsehood in War Time, p. 13
- Muller's sense of the "world of reality" to be discredited differed enormously from Dali's: for Muller, what was currently under siege was the "man-made" fabric of European social relations rent apart by fascism, its humanist claims demolished by Hitler's genocidal politics of hatred. The surrealists, though, implicated reality as the set of "learned machinations" that resulted in the West's complicity, conscious or unconscious, with the rise and militarization of fascism.
Source: Surrealism and the Art of Crime, p. 240
- Murder will out, says the old-fashioned proverb -- a proverb of days more believing than our own. But murder will not always out, thought Jocelyn Cipriano; as a matter of fact, how many times a year is the proverb falsified?
Source: For Maimie's Sake: A Tale of Love and Dynamite, p. 196
- Not surprisingly, the mythography to which novels respond and contribute is frequently paranoid, obsessed with fantastically exaggerated dangers. Before the 1970s, the most famous novels about terrorism commonly depicted terrorism as a type of philosophical and psychological derangement and hence not much to worry about, except insofar as philosophies and psychologies can be worrying. The terrorists in novels like Conrad's Secret Agent (1907) are in fact capable of little; they suffer from indolence and aimlessness, and the police have their number. In G. K. Chesterton's The Man Who Was Thursday (1908), a presumably dangerous terrorist conspiracy turns out to be wholly an invention of counterterrorist and counter-counterterrorist agents spying on one another. The only terrorist threat, for Chesterton, is the fear of terrorism. Even in Greene's The Quiet American, the main terrorist (the American of the title) is ineffectual; he causes death and destruction but misses his targets and does not accomplish any political goals. Twenty years later, in post-1970 fiction, however, terrorists are often magnificently adept at inflicting harm on others an challenging the security and the politics of their adversaries. It is not just that they succeed in causing damage; they succeed implausibly, stringing up success after success, engaging in more and more elaborate, ingenious, and unlikely conspiracies, and causing all sorts of implausible disruption. That a certain formal realism, including attention to realistic detail, may nevertheless convince their readers to take the fantasies of danger seriously, to see plausibility and vitality in them, is not in dispute. Nor is it in dispute that, though the fictions exaggerate, what they exaggerate is itself something real to the external world. Terrorism disrupts, damages, ills. But i its implausible exaggerations, the fiction is often unmistakably a fiction of fear, nightmarish in its concocting of terrors, ghoulish in its concocting of agents of mass destruction.
Source: Terrorism and the Novel, 1970-2001, p. 401-402
- On 14 April 1897, Milner set out for South Africa on a personal crusade to make it as loyally British as the garden of England. He would remain there for eight years, cement his role as leader and build a team of brilliant young acolytes to drive the Secret Elite agenda forward over the next 30 years. His mission was absolutely clear: govern South Africa, all of it, remove Boer obstacles to complete British domination and take the Transvaal's gold. Milner knew it would mean all-out war. He also knew that the only way to make such a war acceptable to the Cabinet and British public was to portray Kruger's Boers as the aggressors.
Source: Hidden History: The Secret Origins of the First World War, p. 38-39
- Paranoia, Dali argues, systematizes a mental crisis which is analogous to hallucination, yet which expresses itself instead in terms of recognizable and empirically verifiable evidence. As paranoia calls on the exterior world to validate its obsessive ideas, its troubling power derives from its exacting particularity; as Dali writes: "Paranoia uses the external world to assert the obsessive idea, with its disturbing characteristic of making this idea's reality valid to others. The reality of the external world serves as illustration and proof, and is placed in the service of the reality of our mind." Dali notes the "inconceivable subtlety" of paranoiacs, who take advantage "of motives and facts so refined as to escape normal people" and thus "reach conclusions that are often impossible to contradict or reject." As a result, these "conclusions," in the form of simulacra, can at their most powerful compete with, and even displace, reality itself. "It is because of their failure to cohere with reality," Dali writes, "and because of the arbitrary element in their presence, that simulacra can easily assume the form of reality and that reality, in its turn, adapts itself to the violences committed by simulacra."
Unlike what Breton would call the surrealism of its mid-1920s "rational phase," Dali's paranoia-critique no longer relied on accurate critique to expose the ideological excesses of contemporary society. Instead it mechanically -- yet critically -- misinterpreted reality in order to provoke a "crisis in consciousness" that would dislodge contemporary thinking from its ideologically overdetermined sense of the real.
Source: Surrealism and the Art of Crime, p. 162
- Recognizing the popular and clinical impact of crime to be an admixture of fiction and fact, the surrealists viewed crime as a phenomenon of the marvelous, an event characterized by the discrepancies and excesses it brought to light. Louis Aragon, in a series of aphorisms published in 1925, refers to this phenomenal quality as "the contradiction that reveals itself within the real." Aragon would later uphold this phenomenon as a mechanism for political change, arguing that the marvelous provides a means for diagnosing crises within existing political and cultural orders, as well as for attacking, in turn, the ideological forces that sustain them as reality...The surrealist fascination with crime is fundamental, I propose, to the movement's collective project, a radical synthesis of diverse fields of knowledge that sought to transform the ordering systems through which we understand and experience modern life.
Source: Surrealism and the Art of Crime, p. 1-2
- She could not bear to be only a terrifying dream.
Source: All Hallows' Eve, p. 14
- She did not recognise captivity; she thought herself free.
Source: All Hallows' Eve, p. 80
- The great enemy of mankind is opacity. This opacity is outside him and above all within him, where conventional ideas and all sorts of dubious defenses maintain it.
Source: Arcanum 17, p. 58
- The public can be worked up emotionally by sham ideals. A sort of collective hysteria spreads and rises until finally it gets the better of sober people and reputable newspapers.
Source: Falsehood in War Time, p. 14
- Then there was the OSS's...penchant not only for paramilitary sabotage and subversion but also for the subtler arts of "psychological warfare," propaganda designed to undermine enemy morale and strengthen that of allies. "Persuasion, penetration, and intimidation...are the modern counterparts of sapping and mining in the siege warfare of former days," believed Donovan.
Source: The Mighty Wurlitzer: How the CIA Played America, p. 18-19
- There is no question that Carrington was in need of some treatment; she had become convinced that parts of Europe were becoming hypnotized by agents of Hitler. Although this doesn't seem very far off the mark for the people who experienced it, Carrington believed that magical forces were at work and repeatedly singled out certain Nazi figures (a man named Van Ghent in Spain, for example) as targets for assassination. She was ultimately committed to an asylum for constantly badgering the British Embassy that Van Ghent should be eliminated.
Source: Disruptive Testimonies: The Stakes of Surrealist Experience in Breton and Carrington, p. 100
- They fled and escaped from actuality. Unknowingly, they spoke as he did, knowing; therefore they were his servants -- until they dissolved and were lost.
Source: All Hallows' Eve, p. 101
- This is no plea that lies should not be used in war-time, but a demonstration of how lies must be used in war-time. If the truth were told from the outset, there would be no reason and no will for war. Anyone declaring the truth: "Whether you are right or wrong, whether you win or lose, in no circumstances can war help you or your country," would find himself in gaol very quickly. In war-time, failure to lie is negligence, the doubting of a lie a misdemeanour, the declaration of the truth a crime.
Source: Falsehood in War Time, p. 27
- Unlike the more celebrated surrealist images of the early 1920s, this composition [the before & after juxtaposition of the Papin sisters] invokes, through absence, the disruptive violence of the Papin murders for analytical rather than affective purposes. Its aim is no longer to "disorient us in our own memory by depriving us of a frame of reference," as Breton wrote in 1921, but rather to orient. Indeed by 1933 disorientation and disillusionment were no longer simply the watchwords of surrealist activity but had instead become conditions of political life under the threat of the seemingly incomprehensible rise of fascism. In this context the surrealist image offered a new frame of reference for political judgment; yet its value as theory would derive less from philosophy or logic than from the clinical study of paranoia, whose challenge to the naive realism at the core of communist thinking would provide the epistemological grounds for a renewed surrealist commitment to political resistance, directed explicitly against fascism....[P]aranoia increasingly offered...a form of thought that "was both autonomous and critical," and "could destabilize a consensual understanding of the real."
Source: Surrealism and the Art of Crime, p. 179-180
- War is fought in this fog of falsehood, a great deal of it undiscovered and accepted as truth. The fog arises from fear and is fed by panic. Any attempt to doubt or deny even the most fantastic story has to be condemned at once as unpatriotic, if not traitorous. This allows a free field for the rapid spread of lies.
Source: Falsehood in War Time, p. 25-26
- What needs to be stressed is that thousands of Americans, including unelected political cadres like Wolfowitz, and scores of journalists with access to them like Zakaria, know that the CIA-owned Ministry of Interior operates more than a dozen secret prisons. They know what goes on in them, too. As one Iraqi general told the film-makers, "drilling, murder, torture -- the ugliest sorts of torture I've ever seen."
Likewise, the composition and operations of Special Police death squads, an American interviewee said, "were discussed openly, wherever it was, at staff meetings," and were "common knowledge across Baghdad."
Common knowledge never shared with the public.
It is a testament to the power of US "information warfare" that this policy of systematic war crimes comes as a surprise to the general public. Such is the power of National Security State insiders like David Corn and Michael Isikoff, who happily turned a policy of calculated war crimes into the "hubris" of a few sexy mad patriots whom the Establishment is glad to scandalise, but never prosecute.
Certainly people have to be reminded, and the young have to learn, that America's policy of war crimes for profit cannot exist without the complicity of the mainstream media, which shamelessly exploits our inclination to believe that our leaders behave morally. As George Orwell wrote in 1945, "The nationalist not only does not disapprove of atrocities committed by his own side, but he has a remarkable capacity for not even hearing about them."
Belligerent nationalism is understood in America as the essence of patriotism, and this veneration for militants is taught to all budding reporters at journalism schools, along with the sacred Code of Silence. Which is why, when insider Seymour Hersh reported that the CIA and Israel were training Special Forces assassination squads for deployment in Iraq based on the Phoenix program model, he described it in a bloodless manner that made it seem necessary and, at worst, a mistake.
But war crimes are not a mistake; they are a "repugnant" and thoroughly intentional form of modern American warfare.
Source: The CIA as Organized Crime, p. 149
- What then can we adhere to, since in our world we cannot be sure we have attained the truth? We can adhere, I believe, to the ways in which men have found the truth and to the spirit in which they have sought it...We are explorers in a strange world, and what we must depend upon is not a map of the country -- for there is no map -- but upon those qualities of mind and heart and those distillations of experience which men have learned to depend upon when they faced the unknown...[T]he only sure foundation of action is truth that experience will verify, and the great concern of the liberal spirit with human freedom rests at last upon the conviction that at almost any cost men must keep open the channels of understanding and preserve unclouded, lucid, and serene their receptiveness of truth. This concern with human freedom is not only a matter of resisting encroachment upon civil liberties. It is a matter of personal honor, of seeking always in a spirit- searching self-examination to confront the facts with a mind and with a heart that have no hidden entanglement...The liberal spirit is the effort, not of any cult, or sect, or party, but of any man or woman, to remain clear and free of his irrational, his unexamined, his unacknowledged prejudgments, so that he may the more effectively make his little contribution "to the search and expectation of greatest and exactest things."
Source: The Press and Public Opinion, p. 168-170
- Whatever the reality of terrorism may be -- and a good deal of criticism and theoretical work has regarded terrorism as something that is i effect really real, a Laconian "real" defying symbolization (for example, Zizek 2002 [Welcome to the Desert of the Real] and Baudraillard 2003 [The Spirit of Terrorism and Other Essays]) -- fiction has taken up terrorism as a thing of its own.
But what is this "thing," this narrative thing? What does terrorism do in novels? What in fact is it, and how does it operate? ...In the context of the mass media, William A. Douglass and Joseba Zulaika (1996) have discussed what they call the "mythography" of terrorism: taken up by the press, by politicians and policy makers, by television producers and filmmakers, terrorism is inserted into an "enabling fiction," a myth of terrorism and its causes, dangers, and meanings, which ends up making its own realities. The result of this mythography is not simply a distortion of perception; it is the replacement of the perception of things with a reaction to representations. Policies end up being made, wars even end up being fought, not in response to real conflicts in the realms of social relations and politics, but in reaction to the simulacra of conflict circulated in the media by way of a mythography of terror.
Fiction, we perceive, both responds to this mythography and contributes to it...
Source: Terrorism and the Novel, 1970-2001, p. 388-389
- When in 1898 the International Anti-Anarchist Conference was held in Rome to find new means of controlling the seemingly rising threat of anarchist terrorism, this threat had already been framed as a serious crisis of visibility. Rendered possible by the invention of dynamite by Alfred Nobel, a previously unknown concept of enmity evolved at the close of the nineteenth century, and with the emerging figure of the dynamiter, nothing less than the disappearance of the visible enemy seemed to have set in.
From chapter: Hendrik Blumentrath, Enmity and the Archive
Source: Literature and Terrorism: Comparative Perspectives, p. 67
- [O]ur images of reality themselves depend on the degree of our paranoiac faculty, and that yet, theoretically, an individual endowed with a sufficient degree of this faculty, might as he wishes see the successive changes of form of an object perceived in reality, just as in the case of voluntary hallucination; this, however, with the still more devastatingly important characteristic that the various forms assumed by the object in question will be controllable and recognizable by all, as soon as the paranoiac will simply indicate them.
Source: The Rotting Donkey, p. 257