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Constituents of a Theory of the Media

by Hans Magnus Enzensberger

Dr. Enzensberger was a German theologian and analyst of mass media who worked primarily immediately after the Second World War. This article appeared in Modern Occasions Anthology in 1970, pp. 13 - 38.. Publisher is unknown. This material was prepared for Religion Online by Ted and Winnie Brock.


If you should think this is Utopian, then I would ask you to consider why it is Utopian.

-- Brecht: Theory of Radio

1. With the development of the electronic media, the industry that shapes consciousness has become the pacemaker for the social and economic development of societies in the late industrial age. It infiltrates into all other sectors of production, takes over more and more directional and control functions, and determines the standard of the prevailing technology.

(In lieu of normative definitions here is an incomplete list of new developments which have emerged in the last 20 years: news satellites, color television, cable relay television, cassettes, videotape, videotape recorders, video-phones, stereophony, laser techniques, electrostatic reproduction processes, electronic high-speed printing, composing and learning machines, microfiches with electronic access, printing by radio, time-sharing computers, data banks. All these new forms of media are constantly forming new connections both with each other and with older media like printing, radio, film, television, telephone, teletype, radar and so on. They are clearly coming together to form a universal system. (Illustrative material and asides, originally printed in a smaller type, are here enclosed in brackets.)

The general contradiction between productive forces and productive relationships emerges most sharply, however, when they are most advanced. (By contrast, protracted structural crises as in coal-mining can be solved merely by getting rid of a backlog, that is to say, essentially they can be solved within the terms of their own system and a revolutionary strategy that relied on them would be short-sighted.)

Monopoly capitalism develops the consciousness-shaping industry more quickly and more extensively than other sectors of production; it must at the same time fetter it. A socialist media theory has to work at this contradiction. Demonstrate that it cannot be solved within the given productive relationships -- rapidly increasing discrepancies -- potential destructive forces. ‘Certain demands of a prognostic nature musy not a problem. It is consciously prevented for understandable political reasons. The technical distinction between receivers and transmitters reflects the social division of labor into producers and consumers, which in the consciousness industry becomes of particular political importance. It is based, in the last analysis, on the basic contradiction between the ruling class and the ruled class -- that is to say between monopoly capital or monopolistic bureaucracy on the one hand and the dependent masses on the other.

(This structural analogy can be worked out in detail. To the programs offered by the broadcasting cartels there correspond the politics offered by a power cartel consisting of parties constituted along authoritarian lines. In both cases marginal differences in their platforms reflect a competitive relationship which on essential questions is nonexistent. Minimal independent activity on the part of the voter/viewer. As is the case with parliamentary elections under the two-party system the feedback is reduced to indices. ‘Training in decision making’ is reduced to the response to a single, three-point switching process: Program 1; Program 2; Switch off (abstention).)

‘Radio must be changed from a means of distribution to a means of communication. Radio would be the most wonderful means of communication imaginable in public life, a huge linked system -- that is to say, it would be such if it were capable not only of transmitting but of receiving, of allowing the listener not only to hear but to speak, and did not isolate him but brought him into contact. Unrealizable in this social system, realizable in another, these proposals, which are, after all, only the natural consequences of technical development, help towards the propagation and shaping of the other system.’ (Bertolt Brecht: Theory of Radio (1932), Gesammelte Werke, Band VIII, pp. 129 seq., 134.)

The Orwellian Fantasy

3.George Orwell’s bogey of a monolithic consciousness industry derives from a view of the media which is undialectical and obsolete. The possibility of total control of such a system at a central point belongs not to the future but to the past. With the aid of systems theory, a discipline which is part of bourgeois science -- using, that is to say, categories which are immanent in the system -- it can be demonstrated that a linked series of communications or, to use the technical term, switchable network, to the degree that it exceeds a certain critical size, can no longer be centrally controlled but only dealt with statistically. This basic ‘leakiness’ of stochastic systems admittedly allows the calculation of probabilities based on sampling and extrapolations; but blanket supervision would demand a monitor that was bigger than the system itself. The monitoring of all telephone conversations, for instance, postulates an apparatus which would need to be n times more extensive and more complicated than that of the present telephone system. A censor’s office, which carried out its work extensively, would of necessity become the largest branch of industry in its society.

But supervision on the basis of approximation can only offer inadequate instruments for the self-regulation of the whole system in accordance with the concepts of those who govern it. It postulates a high degree of internal stability. If this precarious balance is upset, then crisis measures based on statistical methods of control are useless. Interference can penetrate the leaky nexus of the media, spreading and multiplying there with the utmost speed by resonance. The régime so threatened will in such cases, insofar as it is still capable of action, use force and adopt police or military methods.

A state of emergency is therefore the only alternative to leakage in the consciousness industry; but it cannot be maintained in the long run. Societies in the late industrial age rely on the free exchange of information; the ‘objective pressures’ to which their controllers constantly appeal are thus turned against them. Every attempt to suppress the random factors, each diminution of the average flow and each distortion of the information structure must, in the long run, lead to an embolism.

The electronic media have not only built up the information network intensively, they have also spread it extensively. The radio wars of the fifties demonstrated that in the realm of communications, national sovereignty is condemned to wither away. The further development of satellites will deal it the coup de grâce. Quarantine regulations for information, such as were promulgated by Fascism and Stalinism, are only possible today at the cost of deliberate industrial regression.

(Example. The Soviet bureaucracy, that is to say the most widespread and complicated bureaucracy in the world, has to deny itself almost entirely an elementary piece of organizational equipment, the duplicating machine, because this instrument potentially makes everyone a printer. The political risk involved, the possibility of a leakage in the information network, is accepted only at the highest levels, at exposed switchpoints in political, military and scientific areas. It is clear that Soviet society has to pay an immense price for the suppression of its own productive resources -- clumsy procedures, misinformation, faux frais. The phenomenon incidentally has its analogue in the capitalist West, if in a diluted form. The technically most advanced electrostatic copying machine, which operates with ordinary paper -- which cannot that is to say, be supervised and is independent of suppliers -- is the product of a monopoly (Xerox); on principle it is not sold but rented. the rates themselves ensure that it does not get into the wrong hands. The equipment crops up as if by magic where economic and political power are concentrated. Political control of the equipment goes hand in hand with maximization of profits for the manufacturer. Admittedly this control, as opposed to Soviet methods, is by no means ‘water-tight’ for the reasons indicated.)

The problem of censorship thus enters a new historical stage. The struggle for the freedom of the press and freedom of ideas has, up till now, been mainly an argument within the bourgeoisie itself; for the masses, freedom to express opinions was a fiction since they were, from the beginning, barred from the means of production -- above all from the press -- and thus were unable to join in freedom of expression from the start. Today censorship is threatened by the productive forces of the consciousness industry which is already, to some extent, gaining the upper hand over the prevailing relations of production. Long before the latter are overthrown, the contradiction between what is possible and what actually exists will become acute.

Cultural Archaism in the Left Critique

4. The New Left of the sixties has reduced the development of the media to a single concept -- that of manipulation. This concept was originally extremely useful for heuristic purposes and has made possible a great many individual analytical investigations, but it now threatens to degenerate into a mere slogan which conceals more than it is able to illuminate, and therefore itself requires analysis.

The current theory of manipulation on the Left is essentially defensive; its effects can lead the movement into defeatism. Subjectively speaking, behind the tendency to go on the defensive lies a sense of impotence. Objectively, it corresponds to the absolutely correct view that the decisive means of production are in enemy hands. But to react to this state of affairs with moral indignation is naïve. There is in general an undertone of lamentation when people speak of manipulation which points to idealistic expectations -- as if the class enemy had ever stuck to the promises of fair play it occasionally utters. The liberal superstition that in political and social questions there is such a thing as pure, unmanipulated truth, seems to enjoy remarkable currency among the socialist Left. It is the unspoken basic premise of the manipulation thesis.

This thesis provides no incentive to push ahead. A socialist perspective which does not go beyond attacking existing property relationships is limited. The expropriation of Springer is a desirable goal but it would be good to know to whom the media should be handed over. The Party? To judge by all experience of that solution, it is not a possible alternative. It is perhaps no accident that the Left has not yet produced an analysis of the pattern of manipulation in countries with socialist régimes.

The manipulation thesis also serves to exculpate oneself. To cast the enemy in the role of the devil is to conceal the weakness and lack of perspective in one’s own agitation. If the latter leads to self-isolation instead of mobilizing the masses, then its failure is attributed holus-bolus to the overwhelming power of the media.

The theory of repressive tolerance has also permeated discussion of the media by the Left. This concept, which was formulated by its author with the utmost care, has also, when whittled away in an undialectical manner, become a vehicle for resignation. Admittedly, when an office-equipment firm can attempt to recruit sales staff with the picture of Che Guevara and the text We would have hired him, the temptation to withdraw is great. But fear of handling shit is a luxury a sewer-man cannot necessarily afford.

The electronic media do away with cleanliness; they are by their nature ‘dirty’. That is part of their productive power. In terms of structure, they are anti-sectarian -- a further reason why the Left, insofar as it is not prepared to re-examine its traditions, has little idea what to do with them. The desire for a cleanly defined ‘line’ and for the suppression of ‘deviations’ is anachronistic and now serves only one’s own need for security. It weakens one’s own position by irrational purges, exclusions and fragmentation, instead of strengthening it by rational discussion.

These resistances and fears are strengthened by a series of cultural factors which, for the most part, operate unconsciously, and which are to be explained by the social history of the participants in today’s Left movement -- namely their bourgeois class background. It often seems as if it were precisely because of their progressive potential that the media are felt to be an immense threatening power; because for the first time they present a basic challenge to bourgeois culture and thereby to the privileges of the bourgeois intelligentsia-.--a challenge far more radical than any self-doubt this social group can display. In the New Left’s opposition to the media, old bourgeois fears such as the fear of ‘the masses’ seem to be reappearing along with equally old bourgeois longings for pre-industrial times dressed up in progressive clothing.

(At the very beginning of the student revolt, during the Free Speech Movement at Berkeley, the computer was a favorite target for aggression. Interest in the Third World is not always free from motives based on antagonism towards civilization which has its source in conservative culture critique. During the May events in Paris the reversion to archaic forms of production was particularly characteristic. Instead of carrying out agitation among the workers in a modern offset press, the students printed their posters on the hand presses of the Ecole des Beaux Arts. The political slogans were hand-painted; stencils would certainly have made it possible to produce them en masse, but it would have offended the creative imagination of the authors. The ability to make proper strategic use of the most advanced media was lacking. It was not the radio headquarters that were seized by the rebels, but the Odéon Theatre, steeped in tradition.)

The obverse of this fear of contact with the media is the fascination they exert on left-wing movements in the great cities. On the one hand, the comrades take refuge in outdated forms of communication and esoteric arts and crafts instead of occupying themselves with the contradiction between the present constitution of the media and their revolutionary potential; on the other hand, they cannot escape from the consciousness industry’s program or from its aesthetic. This leads, subjectively, to a split between a puritanical view of political action and the area of private ‘leisure’; objectively, it leads to a split between politically active groups and sub-cultural groups.

In Western Europe the socialist movement mainly addresses itself to a public of converts through newspapers and journals which are exclusive in terms of language, content, and form. These news-sheets presuppose a structure of party members and sympathizers and a situation, where the media are concerned, that roughly corresponds to the historical situation in 1900; they are obviously fixated on the Iskra model. Presumably the people who produce them listen to the Rolling Stones, follow occupations and strikes on television, and go to the cinema to see a Western or a Goddard; only in their capacity as producers do they make an exception, and, in their analyses, the whole media sector is reduced to the slogan of ‘manipulation’. Every foray into this territory is regarded from the start with suspicion as a step towards integration. This suspicion is not unjustified; it can however also mask one’s own ambivalence and insecurity. Fear of being swallowed up by the system is a sign of weakness; it presupposes that capitalism could overcome any contradiction -- a conviction which can easily be refuted historically and is theoretically untenable.

If the socialist movement writes off the new productive forces of the consciousness industry and relegates work on the media to a subculture, then we have a vicious circle. For the Underground may be increasingly aware of the technical and aesthetic possibilities of the disc, of videotape, of the electronic camera, and so on, and is systematically exploring the terrain, but it has no political viewpoint of its own and therefore mostly falls a helpless victim to commercialism. The politically active groups then point to such cases with smug Schadenfreude. A process of un-learning is the result and both sides are the losers. Capitalism alone benefits from the Left’s antagonism to the media, as it does from the de-politicization of the counter-culture.

Democratic Manipulation

5. manipulation -- etymologically, handling -- means technical treatment of a given material with a particular goal in mind. When the technical intervention is of immediate social relevance, then manipulation is a political act. In the case of the media industry that is by definition the case.

Thus every use of the media presupposes manipulation. The most elementary processes in media production, from the choice of the medium itself to shooting, cutting, synchronization, dubbing, right up to distribution, are all operations carried out on the raw material. There is no such thing as unmanipulated writing, filming, or broadcasting. The question is therefore not whether the media are manipulated, but who manipulates them. A revolutionary plan should not require the manipulators to disappear; on the contrary, it must make everyone a manipulator.

All technical manipulations are potentially dangerous; the manipulation of the media cannot be countered, however, by old or new forms of censorship, but only by direct social control, that is to say, by the mass of the people, who will have become productive. To this end, the elimination of capitalistic property relationships is a necessary, but by no means sufficient condition. There have been no historical examples up until now of the mass self-regulating learning process which is made possible by the electronic media. The Communists’ fear of releasing this potential, of the mobilizing capabilities of the media, of the interaction of free producers. is one of the main reasons why even in the socialist countries, the old bourgeois culture, greatly disguised and distorted but structurally intact, continues to hold sway.

(As a historical explanation it may be pointed out that the consciousness industry in Russia at the time of the October Revolution was extraordinarily backward; their productive capacity has grown enormously since then, but the productive relationships have been artificially preserved, often by force. Then, as now, a primitively edited press, books and theatre, were the key media in the Soviet Union. The development of radio, film and television, is politically arrested. Foreign stations like the BBC, the Voice of America, and the Deutschland Welle, therefore, not only find listeners, but are received with almost boundless faith. Archaic media like the handwritten pamphlet and poems orally transmitted play an important role.)

6. The new media are egalitarian in structure. Anyone can take part in them by a simple switching process. The programs themselves are not material things and can be reproduced at will. In this sense the electronic media are entirely different from the older media like the book or the easel-painting, the exclusive class character of which is obvious. Television programs for privileged groups are certainly technically conceivable -- closed-circuit television -- but run counter to the structure. Potentially the new media do away with all educational privileges and thereby with the cultural monopoly of the bourgeois intelligentsia. This is one of the reasons for the intelligentsia’s resentment against the new industry. As for the ‘spirit’ which they are endeavoring to defend against ‘depersonalization’ and ‘mass culture’, the sooner they abandon it the better.

Properties of the new media

7. The new media are orientated towards action, not contemplation; present, not tradition. Their attitude to time is completely opposed to that of bourgeois culture which aspires to possession, that is to extension in time, best of all, to eternity. The media produce no objects that can be hoarded and auctioned. They do away completely with ‘intellectual property’ and liquidate the ‘heritage’, that is to say, the class specific handing-on of non-material capital.

That does not mean to say that they have no history or that they contribute to the loss of historical consciousness. On the contrary, they make it possible for the first time to record historical material so that it can be reproduced at will. By making this material available for present-day purposes, they make it obvious to anyone using it that the writing of history is always manipulation. But the memory they hold in readiness is not the preserve of a scholarly caste. It is social. The banked information is accessible to anyone and this accessibility is as instantaneous as its recording. It suffices to compare the model of a private library with that of a socialized data bank to recognize the structural difference between the two systems.

8. It is wrong to regard media equipment as mere means of consumption. It is always, in principle, also means of production and, indeed, since it is in the hands of the masses, socialized means of production. The contradiction between producers and consumers is not inherent in the electronic media; on the contrary, it has to be artificially reinforced by economic and administrative measures.

(An early example of this is provided by the difference between telegraph and telephone. Whereas the former, to this day, has remained in the hands of a bureaucratic institution which can scan and file every text transmitted, the telephone is directly accessible to all users. With the aid of conference circuits, it can even make possible collective intervention in a discussion by physically remote groups.

On the other hand those auditory and visual means of communication which rely on ‘wireless’ are still subject to state control (legislation on wireless installations). In the face of technical developments, which long ago made local and international radio-telephony possible, and which constantly opened up new wavebands for television -- in the UHF band alone, the dissemination of numerous programs in one locality is possible without interference, not to mention the possibilities offered by wired and satellite television -- the prevailing laws for control of the air are anachronistic. They recall the time when the operation of a printing press was dependent on an imperial license. The socialist movements will take up the struggle for their own wavelengths and must, within the foreseeable future, build their own transmitters and relay stations.)

9. One immediate consequence of the structural nature of the new media is that none of the régimes at present in power can release their potential. Only a free socialist society will be able to make them fully productive. A further characteristic of the most advanced media -- probably the decisive one -- confirms this thesis: their collective structure.

For the prospect that in future, with the aid of the media, anyone can become a producer, would remain apolitical and limited were this productive effort to find an outlet in individual tinkering. Work on the media is possible for an individual only in so far as it remains socially and therefore aesthetically irrelevant. The collection of transparencies from the last holiday trip provides a model.

That is naturally what the prevailing market mechanisms have aimed at. It has long been clear from apparatus like miniature and 8 mm cine cameras, as well as the tape recorder, which are in actual fact already in the hands of the masses, that the individual, so long as he remains isolated, can become with their help at best an amateur but not a producer. Even so potent a means of production as the short-wave transmitter has been tamed in this way and reduced to a harmless and inconsequential hobby in the hands of scattered radio hams. The programs which the isolated amateur mounts are always only bad, outdated copies of what he in any case receives.

(Private production for the media is no more than licensed cottage industry. Even when it is made public it remains pure compromise. To this end, the men who own the media have developed special programs which are usually called ‘Democratic Forum’ or something of the kind. There, tucked away in the corner, ‘the reader (listener, viewer) has his say’, which can naturally be cut short at any time. As in the case of public opinion polling, he is only asked questions so that he may have a chance to confirm his own dependence. It is a control circuit where what is fed in has already made complete allowance for the feedback.

The concept of a license can also be used in another sense -- in an economic one; the system attempts to make each participant into a concessionaire of the monopoly that develops his films or plays back his cassettes. The aim is to nip in the bud in this way that independence which video-equipment, for instance, makes possible. Naturally, such tendencies go against the grain of the structure and the new productive forces not only permit but indeed demand their reversal.)

The poor, feeble and frequently humiliating results of this licensed activity are often referred to with contempt by the professional media producers. On top of the damage suffered by the masses comes triumphant mockery because they clearly do not know how to use the media properly. The sort of thing that goes on in certain popular television shows is taken as proof that they are completely incapable of articulating on their own.

Not only does this run counter to the results of the latest psychological and pedagogical research, but it can easily be seen to be a reactionary protective formulation; the ‘gifted’ people are quite simply defending their territories. Here we have a cultural analogue to the familiar political judgments concerning a working class which is presumed to be ‘stultified’ and incapable of any kind of self-determination. Curiously, one may hear the view that the masses could never govern themselves out of the mouths of people who consider themselves socialists. In the best of cases, these are economists who cannot conceive of socialism as anything other than nationalization.

A Socialist Strategy

10. Any socialist strategy for the media must, on the contrary, strive to end the isolation of the individual participants from the social learning and production process. This is impossible unless those concerned organize themselves. This is the political core of the question of the media. It is over this point that socialist concepts part company with the neo-liberal and technocratic ones. Anyone who expects to be emancipated by technological hardware, or by a system of hardware however structured, is the victim of an obscure belief in progress. Anyone who imagines that freedom for the media will be established if only everyone is busy transmitting and receiving is the dupe of a liberalism which, decked out in contemporary colors, merely peddles the faded concepts of a pre-ordained harmony of social interests.

In the face of such illusions, what must be firmly held on to is that the proper use of the media demands organization and makes it possible. Every production that deals with the interests of the producers postulates a collective method of production. It is itself already a form of self-organization of social needs. Tape recorders, ordinary cameras and cine cameras, are already extensively owned by wage-earners. The question is why these means of production do not turn up at workplaces, in schools, in the offices of the bureaucracy, in short, everywhere where there is social conflict. By producing aggressive forms of publicity which were their own, the masses could secure evidence of their daily experiences and draw effective lessons from them.

Naturally bourgeois society defends itself against such prospects with a battery of legal measures. It bases itself on the law of trespass, on commercial and official secrecy. While its secret services penetrate everywhere and plug in to the most intimate conversations, it pleads a touching concern for confidentiality, and makes a sensitive display of worrying about the question of a privacy in which all that is private is the interest of the exploiters. Only a collective, organized effort can tear down these paper walls.

Communication networks which are constructed for such purposes can, over and above their primary function, provide politically interesting organizational models. In the socialist movements the dialectic of discipline and spontaneity, centralism and decentralization, authoritarian leadership and anti-authoritarian disintegration has long ago reached deadlock. Network-like communications models built on the principal of reversibility of circuits might give indications of how to overcome this situation: a mass newspaper, written and distributed by its readers, a video network of politically active groups.

More radically than any good intention, more lastingly than existential flight from one’s own class, the media, once they have come into their own, destroy the private production methods of bourgeois intellectuals. Only in productive work and learning processes can their individualism be broken down in such a way that it is transformed from morally based (that is to say as individual as ever) self-sacrifice to a new kind of political self understanding and behavior.

11. An all too widely disseminated thesis maintains that present-day capitalism lives by the exploitation of unreal needs. That is at best a half-truth. The results obtained by popular American sociologists like Vance Packard are not unuseful but limited. What they have to say about the stimulation of needs through advertising and artificial obsolescence can in any case not be adequately explained by the hypnotic pull exerted on the wage-earners by mass consumption. The hypothesis of ‘consumer terror’ corresponds to the prejudices of a middle class, which considers itself politically enlightened, against the allegedly integrated proletariat, which has become petty-bourgeois and corrupt. The attractive power of mass consumption is based not on the dictates of false needs, but on the falsification and exploitation of quite real and legitimate ones without which the parasitic process of advertising would be redundant. A socialist movement ought not to denounce these needs, but take them seriously, investigate them and make them politically productive.

That is also valid for the consciousness industry. The electronic media do not owe their irresistible power to any sleight-of-hand but to the elemental power of deep social needs which come through even in the present depraved form of these media.

Precisely because no one bothers about them, the interests of the masses have remained a relatively unknown field, at least insofar as they are historically new. They certainly extend far beyond those goals which the traditional working class movement represented. Just as in the field of production, the industry which produces goods and the consciousness industry merge more and more, so too, subjectively, where needs are concerned, material and non-material factors are closely interwoven. In the process old psycho-social themes are firmly embedded -- social prestige, identification patterns -- but powerful new themes emerge which are utopian in nature. From a materialistic point of view neither the one nor the other must be suppressed.

Henri Lefèbvre has proposed the concept of the spectacle, the exhibition, the show, to fit the present form of mass consumption. Goods and shop windows, traffic and advertisements, stores and the world of communications, news and packaging, architecture and media production come together to form a totality, a permanent theatre, which dominates not only the public city centers but also private interiors. The expression ‘beautiful living’ makes the most commonplace objects of general use into props for this universal festival, in which the fetishistic nature of the commodities triumphs completely over their use value. The swindle these festivals perpetrate is, and remains, a swindle within the present social structure. But it is the harbinger of something else. Consumption as spectacle contains the promise that want will disappear. The deceptive, brutal and obscene features of this festival derive from the fact that there can be no question of a real fulfillment of its promise. But so long as scarcity holds sway, use-value remains a decisive category which can only be abolished by trickery. Yet trickery on such a scale is only conceivable if it is based on mass need. This need -- it is a utopian one -- is there. It is the desire for a new ecology, for a breaking-down of environmental barriers, for an aesthetic which is not limited to the sphere of ‘the artistic’. These desires are not -- or are not primarily -- internalized rules of the game as played by the capitalist system. They have physiological roots and can no longer be suppressed. Consumption as spectacle is -- in parody form -- the anticipation of a Utopian situation.

The promises of the media demonstrate the same ambivalence. They are an answer to the mass need for non-material variety and mobility -- which at present finds its material realization in private car-ownership and tourism -- and they exploit it. Other collective wishes, which capital often recognizes more quickly and evaluates more correctly than its opponents but naturally only so as to trap them and rob them of their explosive force, are just as powerful, just as unequivocally emancipatory: the need to take part in the social process on a local, national and international scale; the need for new forms of interaction, for release from ignorance and tutelage; the need for self-determination. ‘Be everywhere!’ is one of the most successful slogans of the media industry. The readers’ parliament of Bild-Zeitung (The Springer press mass publication) direct democracy used against the interests of the demos. ‘Open spaces’ and ‘free time’ -- concepts which corral and neutralize the urgent wishes of the masses.

(The corresponding acceptance by the media of utopian stories. E.g. the story of the young Italo-American who hijacked a passenger plane to get home from California to Rome was taken up without protest even by the reactionary mass press and undoubtedly correctly understood by its readers. The identification is based on what has become a general need. Nobody can understand why such journeys should be reserved for politicians, functionaries, and business men. The role of the pop star could be analyzed from a similar angle; in it the authoritarian and emancipatory factors are mingled in an extraordinary way. It is perhaps not unimportant that beat music offers groups, not individuals, as identification models. In the productions of the Rolling Stones (and in the manner of their production) the utopian content is apparent. Events like the Woodstock Festival, the concerts in Hyde Park, on the Isle of Wight, and at Altamont, California, develop a mobilizing power which the political Left can only envy.)

It is absolutely clear that, within the present social forms, the consciousness industry can satisfy none of the needs on which it lives and which it must fan, except in the illusory form of games. The point, however, is not to demolish its promises but to take them literally and to show that they can be met only through a cultural revolution. Socialists and socialist régimes which multiply the frustration of the masses by declaring their needs to be false, become the accomplices of the system they have undertaken to fight.

12. Summary.

Repressive use of media Emancipatory use of media
Centrally controlled program Decentralized program
One transmitter, many receivers Each receiver a potential
transmitter
Immobilization of isolated Mobilization of the masses
individuals
Passive consumer behavior Interaction of those involved,
feedback
Depoliticization A political learning process
Production by specialists Collective production
Control by property owners or Social control by self-bureaucracy organization

The Subversive Power of the New Media

13. As far as the objectively subversive potentialities of the electronic media are concerned, both sides in the international class struggle -- except for the fatalistic adherents of the thesis of manipulation in the metropoles -- are of one mind. Frantz Fanon was the first to draw attention to the fact that the transistor receiver was one of the most important weapons in the Third World’s fight for freedom. Albert Hertzog, ex-Minister of the South African Republic and the mouthpiece of the right wing of the ruling party, is of the opinion that ‘television will lead to the ruin of the white man in South Africa’ (Der Spiegel 20/10/1969). American imperialism has recognized the situation. It attempts to meet the ‘revolution of rising expectations in Latin America -- that is what its ideologues call it -- by scattering its own transmitters all over the continent and into the remotest regions of the Amazon basin, and by distributing single-frequency transistors to the native population. The attacks of the Nixon administration on the capitalist media in the USA reveals its understanding that their reporting, however one-sided and distorted, has become a decisive factor in mobilizing people against the war in Vietnam. Whereas only 25 years ago the French massacres in Madagascar, with almost one hundred thousand dead, became known only to the readers of Le Monde under the heading of ‘Other News’ and therefore remained unnoticed and without sequel in the capital city, today the media drag colonial wars into the centers of imperialism.

The direct mobilizing potentialities of the media become still more clear when they are consciously used for subversive ends. Their presence is a factor that immensely increases the demonstrative nature of any political act. The student movements in the USA, in Japan, and in Western Europe soon recognized this and, to begin with, achieved considerable momentary successes with the aid of the media. These effects have worn off. Naïve trust in the magical power of reproduction cannot replace organizational work; only active and coherent groups can force the media to comply with the logic of their actions. That can be demonstrated from the example of the Tupamaros in Uruguay, whose revolutionary practice has implicit in it publicity for their actions. Thus the actors become authors. The abduction of the American Ambassador in Rio de Janeiro was planned with a view to its impact on the media. It was a television production. The Arab guerillas proceed in the same way. The first to experiment with these techniques internationally were the Cubans. Fidel appreciated the revolutionary potential of the media correctly from the first (Moncada 1953). Today illegal political action demands at one and the same time maximum security and maximum publicity.

14. Revolutionary situations always bring with them discontinuous, spontaneous changes brought about by the masses in the existing aggregate of the media. How far the changes thus brought about take root and how permanent they are demonstrates the extent to which a cultural revolution is successful. The situation in the media is the most accurate and sensitive barometer for the rise of bureaucratic or bonapartist anticyclones. So long as the cultural revolution has the initiative, the social imagination of the masses overcomes even technical backwardness and transforms the function of the old media so that their structures are exploded. ‘With our work the Revolution has achieved a colossal labor of propaganda and enlightenment. We ripped up the traditional book into single pages, magnified these a hundred times, printed them in color and stuck them up as posters in the streets . . . Our lack of printing equipment and the necessity for speed meant that, though the best work was hand-printed, the most rewarding was standardized, lapidary and adapted to the simplest mechanical form of reproduction. Thus State Decrees were printed as rolled-up illustrated leaflets, and Army Orders as illustrated pamphlets’ (El Lissitsky. The Future of the Book, New Left Review, No. 41, p. 42.). In the twenties, the Russian film reached a standard that was far in advance of the available productive forces. Pudovkin’s Kinoglas and Dziga Vertov’s Kinopravda were no ‘newsreels’ but political television magazine programs avant l’écran. The campaign against illiteracy in Cuba broke through the linear, exclusive, and isolating structure of the medium of the book. In the China of the Cultural Revolution, wall newspapers functioned like an electronic mass medium-- at least in the big towns. The resistance of the Czechoslovak population to the Soviet invasion gave rise to spontaneous productivity on the part of the masses, which ignored the institutional barriers of the media. (Details to be supplied.) Such situations are exceptional. It is precisely their utopian nature, which reaches out beyond the existing productive forces (it follows that the productive relationships are not to be permanently overthrown), that makes them precarious, leads to reversals and defeats. They demonstrate all the more clearly what enormous political and cultural energies are hidden in the enchained masses and with what imagination they are able, at the moment of liberation, to realize all the opportunities offered by the new media.

The Media: an empty category of Marxist Theory

15. That the Marxist Left should argue theoretically and act practically from the standpoint of the most advanced productive forces in their society, that they should develop in depth all the liberating factors immanent in these forces and use them strategically, is no academic expectation but a political necessity. However, with a single great exception, that of Walter Benjamin (and in his footsteps, Brecht), Marxists have not understood the consciousness industry and have been aware only of its bourgeois-capitalist dark side and not of its socialist possibilities. An author like Georg Lukács is a perfect example of this theoretical and practical backwardness. Nor are the works of Horkheimer and Adorno free of a nostalgia which clings to early bourgeois media.

(Their view of the cultural industry cannot be discussed here. Much more typical of Marxism between the two wars is the position of Lukács, which can be seen very clearly from an early essay on ‘Old Culture and New Culture’ (Kommunismus, Zeitschrift der Kommunistischen Internationale für die Länder Südosteuropas, 1920 pp. 1538 -- 49). ‘Anything that culture produces’, can according to Lukács, ‘have real cultural value only if it is in itself valuable, if the creation of each individual product is from the standpoint of its maker a single, finite process. It must, moreover, be a process conditioned by the human potentialities and capabilities of the creator. The most typical example of such a process is the work of art, where the entire genesis of the work is exclusively the result of the artist’s labor and each detail of the work that emerges is determined by the individual qualities of the artist. In highly developed mechanical industry on the other hand, any connection between the product and the creator is abolished. The human being serves the machine, he adapts to it. Production becomes completely independent of the human potentialities and capabilities of the worker.’ These ‘forces which destroy culture’ impair the work’s ‘truth to the material’, its ‘level’, and deal the final blow to the ‘work as an end in itself’. There is no more question of ‘the organic unity of the products of culture, its harmonious, joy-giving being’. Capitalist culture must lack ‘the simple and natural harmony and beauty of the old culture -- culture in the true, literal sense of the word.’ Fortunately things need not remain so. The ‘culture of proletarian society’ although ‘in the context of such scientific research as is possible at this time’ nothing more can be said about it, will certainly remedy these ills. Lukács asks himself ‘which are the cultural values which, in accordance with the nature of this context, can be taken over from the old society by the new and further developed.’ Answer: Not the inhuman machines but ‘the idea of mankind as an end in itself, the basic idea of the new culture’, for it is ‘the inheritance of the classical idealism of the nineteenth century’. Quite right. ‘This is where the philistine concept of art turns up with all its deadly obtuseness -- an idea to which all technical considerations are foreign and which feels that with the provocative appearance of the new technology its end has come’ (Walter Benjamin: Kleine Geschichte der Photographie in Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit Frankfurt 1963 p. 69).

These nostalgic backward glances at the landscape of the last century, these reactionary ideals, are already the forerunners of socialist realism, which mercilessly galvanized and then buried those very ‘cultural values’, which Lukács rode out to rescue. Unfortunately, in the process, the Soviet cultural revolution was thrown to the wolves; but this aesthete can in any case hardly have thought any more highly of it than did J. V. Stalin)

The inadequate understanding which Marxists have shown of the media and the questionable use they have made of them has produced a vacuum in Western industrialized countries into which a stream of non-Marxist hypotheses and practices has consequently flowed. From the Cabaret Voltaire to Andy Warhol’s Factory, from the silent film comedians to the Beatles, from the first comic-strip artists to the present managers of the Underground, the apolitical have made much more radical progress in dealing with the media than any grouping of the Left. (Exception -- Münzenberg). Innocents have put themselves in the forefront of the new productive forces on the basis of mere intuitions with which communism -- to its detriment -- has not wished to concern itself. Today this apolitical avant-garde has found its ventriloquist and prophet in Marshall McLuhan, an author who admittedly lacks any analytical categories for the understanding of social processes, but whose confused books serve as a quarry of undigested observations for the media industry. Certainly his little finger has experienced more of the productive power of the new media than all the ideological commissions of the CPSU and their endless resolutions and directives put together.

Incapable of any theoretical construction, McLuhan does not present his material as a concept but as the common denominator of a reactionary doctrine of salvation. He admittedly did not invent but was the first to formulate explicitly a mystique of the media which dissolves all political problems in smoke -- the same smoke as gets in the eyes of his followers. It promises the salvation of man through the technology of television and indeed of television as it is practiced today. Now McLuhan’s attempt to stand Marx on his head is not exactly new. He shares with his numerous predecessors the determination to suppress all problems of the economic base, their idealistic tendencies and their belittling of the class struggle in the naïve terms of a vague humanism. A new Rousseau, like all copies only a pale version of the old, he preaches the gospel of the new primitive man who, naturally on a higher level, must return to prehistoric tribal existence in the ‘global village’.

It is scarcely worthwhile to deal with such concepts. This charlatan’s most famous saying -- ‘the medium is the message’ -- perhaps deserves more attention. In spite of its provocative idiocy, it betrays more than its author knows. It reveals in the most accurate way the tautological nature of the mystique of the media. The one remarkable thing about the television set, according to him, is that it moves -- a thesis which in view of the nature of American programs has, admittedly, something attractive about it.

(The complementary mistake consists in the widely spread illusion that media are neutral instruments with which any ‘messages’ one pleases can be transmitted without regard for their structure or for the structure of the medium. In the East European countries the television newsreaders read 15 minute-long conference communiqués and Central Committee resolutions which are not even suitable for printing in a newspaper, clearly under the delusion that they might fascinate a public of millions.)

The sentence -- the medium is the message -- transmits yet another message, however, and a much more important one. It tells us that the bourgeoisie does indeed have all possible means at its disposal to communicate something to us, but that it has nothing more to say. It is ideologically sterile. Its intention to hold on to the control of the means of production at any price, while being incapable of making the socially necessary use of them is here expressed with complete frankness in the superstructure. It wants the media as such and to no purpose.

This wish has been shared for decades and given symbolical expression by an artistic avant-garde whose program logically admits only the alternative of negative signals and amorphous noise. Example: the meanwhile outdated ‘literature of silence’, Warhol’s films in which everything can happen at once or nothing at all and John Cage’s 45-minute-long Lecture on Nothing(1959).

The Achievement of Benjamin

16. The revolution in the conditions of production in the superstructure has made the traditional aesthetic theory unusable, completely unhinging its fundamental categories and destroying its ‘standards’. The theory of knowledge on which it was based is outmoded. In the electronic media, a radically altered relationship between subject and object emerges with which the old critical concepts cannot deal. The idea of the self-sufficient work of art collapsed long ago. The long-drawn discussion over the death of art proceeds in a circle so long as it does not examine critically the aesthetic concept on which it is based, so long as it employs criteria which no longer correspond to the state of the productive forces. When constructing an aesthetic adapted to the changed situation, one must take as a starting point the work of the only Marxist theoretician who recognized the liberating potential of the new media. Thirty-five years ago, that is to say, at a time when the consciousness industry was relatively undeveloped, Walter Benjamin subjected this phenomenon to a penetrating dialectical-materialist analysis. His approach, has not been matched by any theory since then, far less further developed.

‘One might generalize by saying: the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence and in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced. These two processes lead to a tremendous shattering of tradition which is the obverse of the contemporary crisis and renewal of mankind. Both processes are intimately connected with the contemporary mass movements. Their most powerful agent is the film. Its social significance, particularly in its most positive form, is inconceivable without its destructive, cathartic aspect, that is, the liquidation of the traditional value of the cultural heritage.’

‘For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. . . . But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice -- politics. . . . Today, by the absolute emphasis on its exhibition value, the work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental’ (‘The Work of Art in the Age of Mechanical Reproduction’, Illumination;, London 1970, pp. 223-7).

The trends which Benjamin recognized in his day in the film and the true import of which he grasped theoretically, have become patent today with the rapid development of the consciousness industry. What used to be called art, has now, in the strict Hegelian sense, been dialectically surpassed by and in the media. The quarrel about the end of art is otiose so long as this end is not understood dialectically. Artistic productivity reveals itself to be the extreme marginal case of a much more widespread productivity, and it is socially important only insofar as it surrenders all pretensions to autonomy and recognizes itself to be a marginal case. Wherever the professional producers make a virtue out of the necessity of their specialist skills and even derive a privileged status from them, their experience and knowledge have become useless. This means that as far as an aesthetic theory is concerned, a radical change in perspectives is needed. Instead of looking at the productions of the new media from the point of view of the older modes of production we must, on the contrary, analyze the products of the traditional ‘artistic’ media from the standpoint of modern conditions of production.

(‘Earlier much futile thought had been devoted to the question of whether photography is an art. The primary question -- whether the very invention of photography had not transformed the entire nature of art -- was not raised. Soon the film theoreticians asked the same ill-considered question with regard to the film. But the difficulties which photography caused traditional aesthetics were mere child’s play as compared to those raised by the film.’ -- ibid., p. 229.)

The panic aroused by such a shift in perspectives is understandable. The process not only changes the old burdensome craft secrets in the superstructure into white elephants, it also conceals a genuinely destructive element. It is, in a word, risky. But the only chance for the aesthetic tradition lies in its dialectical supersession. In the same way, classical physics has survived as a marginal special case within the framework of a much more comprehensive theory.

This state of affairs can be identified in individual cases in all the traditional artistic disciplines. Their present-day developments remain incomprehensible so long as one attempts to deduce them from their own prehistory. On the other hand, their usefulness or otherwise can be judged as soon as one regards them as special cases in a general aesthetic of the media. Some indications of the possible critical approaches which stem from this will be made below, taking literature as an example.

The Supersession of Written Culture

17. Written literature has, historically speaking, played a dominant role for only a few centuries. Even today, the predominance of the book has an episodic air. An incomparably longer time preceded it in which literature was oral. Now it is being succeeded by the age of the electronic media which tend once more to make people speak. At its period of fullest development the book to some extent usurped the place of the more primitive but generally more accessible methods of production of the past; on the other hand, it was a stand-in for future methods which make it possible for everyone to become a producer.

The revolutionary role of the printed book has been described often enough and it would be absurd to deny it. From the point of view of its structure as a medium, written literature, like the bourgeoisie who produced it and whom it served, was progressive. (See the Communist Manifesto.) On the analogy of the economic development of capitalism, which was indispensable for the development of the industrial revolution, the non-material productive forces could not have developed without their own capital accumulation. (We also owe the accumulation of Das Kapital and its teachings to the medium of the book.)

Nevertheless, almost everybody speaks better than he writes. (This also applies to authors.) Writing is a highly formalized technique which, in purely physiological terms, demands a peculiarly rigid bodily posture. To this there corresponds the high degree of social specialization that it demands. Professional writers have always tended to think in caste terms. The class character of their work is unquestionable, even in the age of universal compulsory education. The whole process is extraordinarily beset with taboos. Spelling mistakes, which are completely immaterial in terms of communication, are punished by the social disqualification of the writer. The rules that govern this technique have a normative power attributed to them for which there is no rational basis. Intimidation through the written word has remained a widespread and class-specific phenomenon even in advanced industrial societies.

These alienating factors cannot be eradicated from written literature. They are reinforced by the methods by which society transmits its writing techniques. While people learn to speak very early, and mostly in psychologically favorable conditions, learning to write forms an important part of authoritarian socialization by the school (‘good writing’ as a kind of breaking-in). This sets its stamp for ever on written communication -- on its tone, its syntax, and its whole style. This also applies to the text on this page.)

The formalization of written language permits and encourages the repression of opposition. ‘in speech, unresolved contradictions betray themselves by pauses, hesitations, slips of the tongue, repetitions, anacoluthons, quite apart from phrasing, mimicry, gesticulation, pace and volume. The aesthetic of written literature scorns such involuntary factors as ‘mistakes’. It demands, explicitly or implicitly, the smoothing out of contradictions, rationalization,ýÿÿÿ‚�ƒ�„�…�†�‡�ˆ�‰�Š�‹�Œ�Ž‘’""•–—˜�™�š�›�œ�žŸ� ¡�¢�£�¤�¥�¦�§�¨�©�ª�«�¬�þÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ±�²�³�´�µ�¶�·�þÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ regularization of the spoken form irrespective of content. Even as a child, the writer is urged to hide his unsolved problems behind a protective screen of correctness.

Structurally, the printed book is a medium that operates as a monologue, isolating producer and reader. Feedback and interaction are extremely limited, demand elaborate procedures, and only in the rarest cases lead to corrections. Once an edition has been printed it cannot be corrected; at best it can be pulped. The control circuit in the case of literary criticism is extremely cumbersome and elitist. It excludes the public on principle.

None of the characteristics that distinguish written and printed literature apply to the electronic media. Microphone and camera abolish the class character of the mode of production (not of the production itself). The normative rules become unimportant. Oral interviews, arguments, demonstrations, neither demand nor allow orthography or ‘good writing’. The television screen exposes the aesthetic smoothing-out of contradictions as camouflage. Admittedly, swarms of liars appear on it, but anyone can see from a long way off that they are peddling something. As at present constituted, radio, film, and television, are burdened to excess with authoritarian characteristics, the characteristics of the monologue, which they have inherited from older methods of production -- and that is no accident. These outworn elements in today’s media aesthetics are demanded by the social relations. They do not follow from the structure of the media. On the contrary, they go against it, for the structure demands interaction.

It is extremely improbable, however, that writing as a special technique will disappear in the foreseeable future. That goes for the book as well, the practical advantages of which for many purposes remain obvious. It is admittedly less handy and takes up more room than other storage systems, but up to now it offers simpler methods of access than, for example, the microfilm or the tape bank. It ought to be integrated into the system as a marginal case and thereby forfeit its aura of cult and ritual.

(This can be deduced from technological developments. Electronics are noticeably taking over writing: teleprinters, reading machines, high-speed transmissions, automatic photographic and electronic composition, automatic writing devices, typesetters, electrostatic processes, ampex libraries, cassette encyclopaedias, photocopiers and magnetic copiers, speedprinters.

The outstanding Russian media expert El Lissitsky incidentally demanded an ‘electro-library’ as far back as 1923 -- a request which, given the technical conditions of the time, must have seemed ridiculous or at least incomprehensible. This is how far this man’s imagination reached into the future:

‘I draw the following analogy:

Inventions in the field Inventions in the field
of verbal traffic of general traffic

Articulated language Upright gait
Writing The wheel
Gutenberg’s printing press Carts drawn by animal power

? The automobile

? The airplane

I have produced this analogy to prove that so long as the book remains a palpable object, i.e. so long as it is not replaced by auto-vocalizing and kino-vocalizing representations, we must look to the field of the manufacture of books for basic innovations in the near future.

There are signs to hand suggesting that this basic innovation is likely to come from the neighborhood of the collotype.’ -- op. cit. p. 40. Today, writing has in many cases already become a secondary technique, a means of transcribing orally recorded speech; tape-recorded proceedings, attempts at speech-pattern recognition, and the conversion of speech into writing.)

18. The ineffectiveness of literary criticism when faced with so-called documentary literature is an indication of how far the critics’ thinking has lagged behind the stage of the productive forces. It stems from the fact that the media have eliminated one of the most fundamental categories of aesthetics up to now -- fiction. The fiction/non-fiction argument has been laid to rest just as was the 19th century’s favorite dialectic of ‘art’ and ‘life’. In his day, Benjamin demonstrated that the ‘apparatus’ (the concept of the medium was not yet available to him) abolishes authenticity. In the productions of the consciousness industry, the difference between the ‘genuine’ original and the reproduction disappears -- ‘that aspect of reality which is not dependent on the apparatus has now become its most artificial aspect’. The process of reproduction reacts on the object reproduced and alters it fundamentally. The effects of this have not yet been adequately explained epistemologically. The categorical uncertainties to which it gives rise also affect the concept of the documentary. Strictly speaking, it has shrunk to its legal dimensions. A document is something the ‘forging’, i.e. the reproduction of which, is punishable by imprisonment. This definition naturally has no theoretical meaning. The reason is that a reproduction, to the extent that its technical quality is good enough, cannot be distinguished in any way from the original, irrespective of whether it is a painting, a passport or a bank note. The legal concept of the documentary record is only pragmatically useful; it serves only to protect economic interests.

The productions of the electronic media, by their nature, evade such distinctions as those between documentary and feature films. They are in every case explicitly determined by the given situation. The producer can never pretend, like the traditional novelist, ‘to stand above things’. He is therefore partisan from the start. This fact finds formal expression in his techniques. Cutting, editing, dubbing -- these are techniques for conscious manipulation without which the use of the new media is inconceivable. It is precisely in these work processes that their productive power reveals itself -- and here it is completely immaterial whether one is dealing with the production of a reportage or a play. The material, whether ‘documentary’ or ‘fiction’, is in each case only a prototype, a half-finished article, and the more closely one examines its origins, the more blurred the difference becomes. (Develop more precisely. The reality in which a camera turns up is always faked, e.g. the moon-landing.)

The Desacralization of Art

19. The media also do away with the old category of works of art which can only be considered as separate objects, not as independent of their material infrastructure. The media do not produce such objects. They create programs. Their production is in the nature of a process. That does not mean only (or not primarily) that there is no foreseeable end to the program -- a fact which, in view of what we are at present presented with, admittedly makes a certain hostility to the media understandable. It means, above all, that the media program is open to its own consequences without structural limitations. (This is not an empirical description but a demand. A demand which admittedly is not made of the medium from without; it is a consequence of its nature, from which the much-vaunted open form can be derived -- and not as a modification of it -- from an old aesthetic.) The programs of the consciousness industry must subsume into themselves their own results, the reactions and the corrections which they call forth, otherwise they are already out of date. They are therefore to be thought of not as means of consumption but as means of their own production.

20. It is characteristic of artistic avant-gardes that they have, so to speak, a presentiment of the potentiality of media which still lie in the future. ‘It has always been one of the most important tasks of art to give rise to a demand, the time for the complete satisfaction of which has not yet come. The history of every art form has critical periods when that form strives towards effects which can only be easily achieved if the technical norm is changed, that is to say, in a new art form. The artistic extravagances and crudities which arise in this way, for instance in the so-called decadent period, really stem from art’s richest historical source of power. Dadaism in the end teemed with such barbarisms. We can only now recognize the nature of its striving. Dadaism was attempting to achieve those effects which the public today seeks in film with the means of painting (or of literature)’ (Benjamin, op. cit. p. 42). This is where the prognostic value of otherwise inessential productions such as happenings, flux and mixed media shows, is to be found. There are writers who in their work show an awareness of the fact that media, with the characteristics of the monologue, today have only a residual use-value. Many of them admittedly draw fairly short-sighted conclusions from this glimpse of the truth. For example, they offer the user the opportunity to arrange the material provided by arbitrary permutations. Every reader as it were should write his own book. When carried to extremes, such attempts to produce interaction, even when it goes against the structure of the medium employed, are nothing

more than invitations to freewheel. Mere noise permits of no articulated interactions. Short cuts, of the kind that Concept Art peddles, are based on the banal and false conclusion that the development of the productive forces renders all work superfluous. With the same justification, one could leave a computer to its own devices on the assumption that a random generator will organize material production by itself. Fortunately cybernetics experts are not given to such childish games.

21. For the old fashioned ‘artist’ -- let us call him the author -- it follows from these reflections that he must see it as his goal to make himself redundant as a specialist in much the same way as a teacher of literacy only fulfills his task when he is no longer necessary. Like every learning process, this process too is reciprocal. The specialist will learn as much or more from the non-specialists as the other way round. Only then can he contrive to make himself dispensable.

Meanwhile his social usefulness can best be measured by the degree to which he is capable of using the liberating factors in the media and bringing them to fruition. The tactical contradictions in which he must become involved in the process can neither be denied nor covered up in any way. But strategically his role is clear. The author has to work as the agent of the masses. He can lose himself in them I only when they themselves become authors, the authors of history.

21. ‘Pessimism of the intelligence, optimism of the will’ (Antonio Gramsci).


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