Archaeology and/or Apocatastasis

In the closing years of this century we are being given the opportunity, under the aegis of pax atomica, to examine in some detail our naive notions of good and evil, of peace and violence, and of life and death. Sentimental notions of peace and love simply will not do. Man is, and forever will be, a microscopic zoo containing snakes and eagles, lions and lambs, fish and frogs. It may be alright for lambs to eat grass, but for a lion - a proper one - grass will not do. Human consciousness is now being presented with new symbols and new meanings. We have not come to terms with the inner animal; therefore, its countenance has become quite fearful, like a charging tiger. This time around we are not confronted with a "babe wrapped in swaddling clothes", which is easy enough to accept, but with a "rough beast, its hour come 'round at last", that slouched to Alamogordo to be born.

Dennis Stillings Meditations on the Atom and Time: An Attempt to Define the Imagery of War and Death in the Late 20th Century. Collected in Apocalypse Culture

Faceless masters continue to inflect the economic strategies which constrain our existences, but they no longer need to impose their speech (or are henceforth unable to); and the post-literacy of the late capitalist world reflects not only the absence of any great collective project but also the unavailability of the older national language itself. In this situation parody finds itself without a vocation; it has lived, and that strange new thing pastiche slowly comes to take its place. Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language. But it is a neutral practice of such mimicry, without any of parody's ulterior motives, amputated of the satiric impulse, devoid of laughter and of any conviction that alongside the abnormal tongue you have momentarily borrowed, some healthy linguistic normality still exists. Pastiche is thus blank parody, a statue with blind eyeballs: it is to parody what that other interesting and historically original modern thing, the practice of a kind of blank irony, is to what Wayne Booth calls the "stable ironies" of the eighteenth century....This situation evidently determines what the architecture historians call "historicism," namely, the random cannibalization of all the styles of the past, the play of random stylistic allusion, and in general what Henri Lefebvre has called the increasing primacy of the "neo." This omnipresence of pastiche is not incompatible with a certain humor, however, nor is it innocent of all passion: it is at the least compatible with addiction - with a whole historically original consumers' appetite for a world transformed into sheer images of itself and for pseudoevents and "spectacles" (the term of the situationists). It is for such objects that we may reserve Plato's conception of the "simulacrum," the identical copy for which no original has ever existed.

Frederic Jameson Postmodernism: Or The Cultural Logic of Late Capitalism 

America in the movies is both mighty and weak, never safe for long. On the one hand, smug triumphs, banal rhetoric and globalising hubris conclude most of these films. But the fears which begin the films are of American weakness in the face of global hostility. America is rarely represented with interests to secure in the third world; this is much less explicit celebration of the benefits of imperialism than, for example, British imperial culture of the late 19th century. The only transnational economies seem to be drugs and guns; America brings rock and roll... and death. Often America is represented only by the 'democratic' military group or super-heroes. Like the ambivalence about the state, the simultaneous reduction of American presence and celebration of its global reach addresses a contradiction in ideology: it tries to square isolationism with the demands of super-power imperialism. It dramatises the extremism of contemporary international inequality, but also shows some hesitation or confusion about its appropriately benign or democratic costume.

Scott  Forsyth Hollywood's War On The World: The New World Order as Movie

History, Nostalgia, Hauntology: The Uses Of Fantasy

"Every empire, however, tells itself and the world that it is unlike all other empires, that its mission is not to plunder and control but to educate and liberate." 

- Edward Said Culture and Imperialism 1993

"Then I looked behind me and saw the city. The books on Thirties design were in the trunk; one of them contained sketches of an idealized city that drew on Metropolis and Things To Come, but squared everything, soaring up through an architect's perfect clouds to zeppelin docks and mad neon spires. That city was a scale model of the one that rose behind me. Spire stood on spire in gleaming ziggurat steps that climbed to a central golden temple tower ringed with the crazy radiator flanges of the Mongo gas stations. You could hide the Empire State Building in the smallest of those towers. Roads of crystal soared between the spires, crossed and recrossed by smooth silver shapes like beads of running mercury. The air was thick with ships: giant wing-liners, little darting silver things (sometimes one of the quicksilver shapes from the sky bridges rose gracefully into the air and flew up to join the dance), mile-long blimps, hovering dragonfly things that were gyrocopters...

I closed my eyes tight and swung around in the seat. When I opened them, I willed myself to see the mileage meter, the pale road dust on the black plastic dashboard, the overflowing ashtray. "Amphetamine psychosis," I said. I opened my eyes. The dash was still there, the dust, the crushed filtertips. Very carefully, without moving my head, I turned the headlights on. And saw them. They were blond. They were standing beside their car, an aluminum avocado with a central shark-fin rudder jutting up from its spine and smooth black tires like a child's toy. He had his arm around her waist and was gesturing toward the city. They were both in white: loose clothing, bare legs, spotless white sun shoes. Neither of them seemed aware of the beams of my headlights. He was saying something wise and strong, and she was nodding, and suddenly I was frightened, frightened in an entirely different way. Sanity had ceased to be an issue; I knew, somehow, that the city behind me was Tucson a dream Tucson thrown up out of the collective yearning of an era. That it was real, entirely real. But the couple in front of me lived in it, and they frightened me.

They were the children of Dialta Downes's `80- that-wasn't; they were Heirs to the Dream. They were white, blond, and they probably had blue eyes. They were American. Dialta had said that the Future had come to America first, but had finally passed it by. But not here, in the heart of the Dream. Here, we'd gone on and on, in a dream logic that knew nothing of pollution, the finite bounds of fossil fuel, or foreign wars it was possible to lose. They were smug, happy, and utterly content with themselves and their world. And in the Dream, it was their world."

- William Gibson 'The Gernsback Continuum' (collected in Burning Chrome) 1981

"He thought, We can only hope. And try. On some other world, possibly it is different. Better. There are clear good and evil alternatives. Not these obscure admixtures, these blends, with no proper tool by which to untangle the components."

- Philip K. Dick The Man In The High Castle 1962

(...)

Brian Walden (Weekend World, ITV 1983):

"All right, now you know, when you say you agree with those values, those values don’t so much have a future resonance, there’s nothing terribly new about them. They have a resonance of our past. Now obviously Britain is a very different country from the one it was in Victorian times when there was great poverty, great wealth, etc., but you’ve really outlined an approval of what I would call Victorian values. The sort of values, if you like, that helped to build the country throughout the 19th Century. Now is that right?"

Margaret Thatcher:
"Oh exactly. Very much so. Those were the values when our country became great, but not only did our country become great internationally, also so much advance was made in this country. Colossal advance, as people prospered themselves so they gave great voluntary things to the State. So many of the schools we replace now were voluntary schools, so many of the hospitals we replace were hospitals given by this great benefaction feeling that we have in Britain, even some of the prisons, the Town Halls. As our people prospered, so they used their independence and initiative to prosper others, not compulsion by the State. Yes, I want to see one nation, as you go back to Victorian times, but I want everyone to have their own personal property stake."

"Finally—and this is not limited to this analysis, though it seems especially relevant—there is the evidence of just how ideological transformations and political restructuring of this order (ascendancy of the New Right) is actually accomplished. It works on the ground of already constituted social practices and lived ideologies. It wins space there by constantly drawing on these elements which have secured over time a traditional resonance and left their traces in popular inventories. At the same time, it changes the field of struggle by changing the place, the position, the relative weight of the condensations within any one discourse and constructing them according to an alternative logic."

- Stuart Hall 'The Great Moving Right Show' 1979