This article explores the rhetoric and reality of the Cultural Revolution as an international phenomenon, examining (through published and oral histories) the ways in which it was perceived and interpreted beyond China. It focuses in particular on the diverse impact of Maoist ideas and practice on the counterculture movement of Western Europe and North America during the late 1960s and 1970s. Within Europe, Cultural Revolution Maoism galvanized Dadaist student protest, nurtured feminist and gay rights activism, and legitimized urban guerrilla terrorism. In the United States, meanwhile, it bolstered a broad programme of anti-racist civil rights campaigns and narrow Marxist-Leninist party-building. Despite Mao's hopes to launch a global permanent revolution, it appears that, over the long term, enthusiasm for the Cultural Revolution in Western Europe, the United States and parts of South-East Asia helped to splinter the radical left and assisted the right in consolidating its power throughout the 1980s and beyond.

This paper treats the Chinese Cultural Revolution as a means by which to open on to a more affective approach to the question of the political. It examines one piece of art-technology of that period and shows the way it intuitively worked within the fluidity of power to produce political intensity. This one technology is a microcosm of the Cultural Revolution notion of the political that was built around an attempt to channel and harness affective power towards revolutionary ends. Both because it attempts to direct the political through the affective dimension and because its methods of doing so resembled contemporary art practices, this paper opens on to the possibilities of a method based on an art rather than a science of the political.