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There were 7 results from your search for keyword(s): 'Surveillance'.

  1. "Menwith Hill??"

    "Maria leant forward and lowered her voice. "It's a Trojan horse," she said, a faraway look in her eyes.

    "For Christ's sake, Maria! It's an American listening base, that's all." Maria came back from her nightmare and looked at him.

    "They record every phone call in this country."

    "Is that possible?"

    "They know everything that goes on. Everything that's happened, that's going to happen. All the dark secrets."

    Source: Gladio: We Can Neither Confirm Nor Deny, p. 74
  2. 'Elstree.' Harvey said it as if there was a third party listening -- as if to draw the attention of this third party to that definite word, Elstree, and whatever connotations it might breed.

    Source: The Only Problem, p. 335
  3. Angel Face took no notice of these festive preparations. He had to see the general and make plans for his flight. Everything seemed easy until the dogs began barking at him in the monstrous wood which separated the President from his enemies, a wood made up of trees with ears which responded to the slightest sound by whirling as if blown by a hurricane. Not the tiniest noise for miles around could escape the avidity of those millions of membranes. The dogs went on barking. A network of invisible threads, more invisible than telegraph wires, connected every leaf with the President, enabling him to keep watch on the most secret thoughts of the townspeople.

    Source: El Senor Presidente, p. 39
  4. Do the authorities realize what they are asking of their employees in terms of the psyche? Let us assume that a the,porarily suspect person of a vulgar nature, whose telephone is being officially tapped, calls up his equally vulgar sex partner of the moment. Since we live in a free country and may speak openly and frankly with one another, even over the phone, what sort of things may buzz in the ears of some moral, not to say moralistic, individual (regardless of sex) or come fluttering out of the tape? Can this be justified? Is there any provision for psychiatric treatment? What does the Union of Public Services, Transportation, and Communications say to that? There is concern for industrialists, anarchists, bank directors, bank robbers, and bank employees, but who is concerned about our national tape-security forces? Has the Bishops' Conference at Fulda or the Executive Committee of German Catholics no ideas on the subject? Why does the Pope keep silent? Does no one realize all the things that assail innocent ears, ranging from crème brûlée to hardest porn? We see young people being encouraged to enter the civil service -- and to what are they exposed? To moral outcasts of the telephone. Here at last we have an area where church and trade union might cooperate. Surely it should be possible to plan at least some kind of educational program for telephone monitors? History lessons on tape? That shouldn't cost too much.

    Source: The Lost Honor of Katharina Blum, p. 75
  5. The ties between surrealism's politics and the problem of terrorist violence briefly became a public issue once more in 2001, in the wake of the September 11 attacks. Recalling the surrealist movement's anti colonial and anti-Western rhetoric, which had been especially visible during the 1920s and 1930s, the prominent French curator Jean Clair excoriated the movement for its resemblance to al-Qaeda. In a newspaper editorial published in December 2001, Clair juxtaposed the destruction of the World Trade Center with Louis Aragon's 1925 rant against the "white buildings" of New York City, suggesting a causal (rather than merely analogical) relationship between fundamentalist terrorism and the interwar European avant-garde. In making this juxtaposition, Clair contends that "the surrealist ideology never stopped hoping for the death of an America it saw as materialist and sterile, and for the triumph of an Orient that served as the repository for the values of the mind." ore than simply a historical coincidence, Clair argues, surrealism's anti-Western and pro-"Oriental" ideology helped "prepare the minds" of European civilization -- yet prepared them not for revolution but for an anti humanism complicit with the forms of totalitarianism and state terror that would follow, from Stalinist purges to the Holocaust.

    Clair's polemic was an attack on avant-garde rhetoric, though, rather than a critique of the surrealist movement's actual political thinking, as represented in the many tracts, pamphlets, and speeches the surrealists produced throughout the movement's history. Indeed, Clair's own charge of surrealism's complicity in 9/11 -- a rhetorical gesture par excellence -- is a reaction, he claims, against the ideological stakes of surrealism's own intensified rhetoric, whose insults and violent polemics "are no different from those found in the fiery attacks of the fascist leagues or, on the other side of the political spectrum, those soon to be addressed to the 'mad dogs' in the Moscow trials. They signal an era." Violent rhetoric produces violent action, Clair maintains; and because surrealism spoke, and because its rhetoric thus served as the conduit between its artistic practices and the political sphere, surrealist appeals to violence and to the dissolution of Western humanistic ideals cannot safely be viewed as autonomous artistic utterances. In "seeking to conflate vita contemplativa and vita politica," Clair argues, the movements members become as subject to judgment and condemnation as any member of a political party.

    Source: Surrealism and the Art of Crime, p. 268
  6. When I opened my door I could tell my room had been searched: everything was tidier than I ever left it.

    Source: The Quiet American, p. 13
  7. [Georges] Sadoul's essay is by far the most paranoid, arguing that the popular appeal of magazines like Detective extended the reach of the powerful right-wing police chief Jean Chiappe....For Sadoul, the law was merely the pretext for a conspiracy of police forces, whether professional, amateur, or journalistic...[H]is intent is to suggest the complicity of even this widely read magazine...with the ideological function of police activity. This function is fascist, Sadoul argues, to the extent that participation in the surveillance and pursuit of so-called criminals is less a question of desire than an automatic function of the state...the sensationalism Sadoul decries represented not a liberation of desire or an explosion of perversity but, as Aragon similarly expresses in his "Introduction to 1930," the "revenge of censorship on the unconscious."

    Source: Surrealism and the Art of Crime, p. 156-157