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Which clippings match 'Situationist International' keyword pg.1 of 1
22 NOVEMBER 2015

Questioning how we relate to the world in functional ways

"JODI's disruption of mapping and video games reminded me of Situationist artist Guy Debord's calls for a 'renovated cartography.' For Debord, when we blindly follow the same directions over and over, using the easiest paths, we get stuck relating to the world in 'functional' ways and imagination withers. Debord wanted people to use the wrong map in the wrong place — to get lost in order that we might see our surroundings anew. Similarly, JODI strips away the usual instrumental goals of our engagements with digital media — to win a game, to communicate information, to navigate quickly. What we are left with is a bare awareness of the random components of our digital lives and a glimpse at the other possibilities for technology."

(Leila Nadir, 30 April 2012, Museum of the Moving Image)

TAGS

2012agency of access and engagementcartographycontrolled environments • designing for playful engagement • Dirk Paesmansdisruptive interrogation • diversity of engagement • exploratory experimentation • exploring other possibilities for technology • functional purpose • getting lost • Guy Debordinstructions for useinstrumental conception of technologyInternet artJoan HeemskerkJODI (art collective)Museum of the Moving Imageour digital livesperformativity • questioning our uses of technology • relating to the world in functional ways • renovated cartography • rethinking boundaries • scriptible spaces • seeing our surroundings anew • Situationist Internationalsymbolic controlunfolding possibilitiesvideo games

CONTRIBUTOR

Simon Perkins
07 JANUARY 2012

The Revival of Psychogeography

"Psychogeography is hot. Guy Debord, founding member of Situationist International and the man who coined the term in 1955, defined the phenomenon as 'the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals'. In fact, psychogeography is the art of strolling, or just about anything that gets pedestrians off their predictable paths and leads them to a new awareness of the urban landscape. Recently we've seen a remarkable psychogeographic revival driven by several artistic urban projects and smartphone applications."

(Jeroen Beekmans, 4 January 2012, The Pop–Up City)

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TAGS

1955 • Adam Greenfield • Android appsappsart • art of strolling • artistic urban project • augmented reality • augmented sound • awarenesscitydaily routinederivedrift • Emilie Giles • encountersenvironmentescapeexploration • exploring the city • flaneur • forgotten places • geographical environment • Guy Debord • Inception app • Ingrid Burrington • interactive encounters • iPhoneiPhone app • iPhone apps • iPod Touch • Loneliness Map • lonely individuals • Lost London • mapmapping • missed connections • new technologiesperception of realityperformativityphenomena • Pratt Manhattan Gallery • predictable cities • psychogeographic experiences • psychogeographic explorations • psychogeographypublic spacerealityroute • Serendipitor • serendipitySituationist International • smartphone applications • smartphone apps • strollersurprisetechnology • unpredictable paths • urban landscapeurban mappingurban planningyou are here

CONTRIBUTOR

Simon Perkins
17 OCTOBER 2008

Situationist cinema attempt to critique capitalist consumption practices

"Debord's mode of cinematic situation construction owes much to Marx's understanding of the relationship between production and alienation, especially as articulated in the Economico-Philosophical Manuscripts of 1844. For Marx, the commodification of labour in a capitalist society means the loss of reality for the worker; in turn, the subsequently produced commodity ensures her simultaneous loss of and bondage to the object produced. Situationist cinema reverses this trend by refusing to produce any new filmic 'work', any reified artifact for consumption whose potential exchange value might negate the use-value acquired in its spatio-temporal projection and the subsequent construction of an indeterminately meaningful event.

Debord picks up Marxian concepts that the Marxist tradition hitherto had all but ignored, frequently echoing Marx's conclusion that alienation appears as the true induction into civil life, and, even more significantly, his observation and critique of 'commodity fetishism' in capitalist society. (3) The spectacle, Debord argues, thrives on the repetition of commodity form, reinvesting the structure with seemingly new products and images. By compiling image after image of the commodification of life by consumer capitalism (female bodies, political figures, product advertisements, popular films, and so on), his films expose this oppressive repetition and artificial sense of the new, and, as if to help along one of the most problematic concepts in Marx's work, Society of the Spectacle (1973) ponders the commodity's 'metaphysical subtleties' while sequentially imaging automobile showrooms and naked cover girls."

(Ricky Crano, 2007)

Crano, R. (2007). "Guy Debord and the Aesthetics of Cine-Sabotage." Senses of Cinema.

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CONTRIBUTOR

Simon Perkins
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