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Which clippings match 'Society Of The Spectacle (Guy Debord)' keyword pg.1 of 2
29 AUGUST 2017

On the Passage of a few People through a Rather Brief Moment in Time: The Situationist International 1956-1972

"The Situationist International (SI) was an international organization of social revolutionaries, the exclusive membership of which was made up of avant-garde artists, intellectuals, and political theorists, active from its formation in 1957 to its dissolution in 1972.

The intellectual foundations of the Situationist International were derived primarily from anti-authoritarian Marxism and the avant-garde art movements of the early 20th century, particularly Dada and Surrealism. Overall, situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism. The situationists recognized that capitalism had changed since Marx's formative writings, but maintained that his analysis of the capitalist mode of production remained fundamentally correct; they rearticulated and expanded upon several classical Marxist concepts, such as his theory of alienation. In their expanded interpretation of Marxist theory, the situationists asserted that the misery of social alienation and commodity fetishism were no longer limited to the fundamental components of capitalist society, but had now in advanced capitalism spread themselves to every aspect of life and culture. They resolutely rejected the idea that advanced capitalism's apparent successes—such as technological advancement, increased income, and increased leisure—could ever outweigh the social dysfunction and degradation of everyday life that it simultaneously inflicted.

Essential to situationist theory was the concept of the spectacle, a unified critique of advanced capitalism of which a primary concern was the progressively increasing tendency towards the expression and mediation of social relations through objects. The situationists believed that the shift from individual expression through directly lived experiences, or the first-hand fulfillment of authentic desires, to individual expression by proxy through the exchange or consumption of commodities, or passive second-hand alienation, inflicted significant and far-reaching damage to the quality of human life for both individuals and society. Another important concept of situationist theory was the primary means of counteracting the spectacle; the construction of situations, moments of life deliberately constructed for the purpose of reawakening and pursuing authentic desires, experiencing the feeling of life and adventure, and the liberation of everyday life.

When the Situationist International was first formed, it had a predominantly artistic focus; emphasis was placed on concepts like unitary urbanism and psychogeography. Gradually, however, that focus shifted more towards revolutionary and political theory. The Situationist International reached the apex of its creative output and influence in 1967 and 1968, with the former marking the publication of the two most significant texts of the situationist movement, The Society of the Spectacle by Guy Debord and The Revolution of Everyday Life by Raoul Vaneigem. The expressed writing and political theory of the two aforementioned texts, along with other situationist publications, proved greatly influential in shaping the ideas behind the May 1968 insurrections in France; quotes, phrases, and slogans from situationist texts and publications were ubiquitous on posters and graffiti throughout France during the uprisings."

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195719721989 • advanced capitalism • anti-authoritarianart movement • authentic desires • avant-garde art • Branka Bogdanov • capitalist societycommodity fetishism • commodity spectacle • consumer societyconsumerism • consumption of commodities • Dadadegradationdetournement • directly lived experiences • documentary filmearly 20th centuryeveryday life • exchange of commodities • expression and mediation of social relations through objects • feeling of adventure • feeling of life • first-hand fulfillment of authentic desires • graffiti • Greil Marcus • Guy Debord • individual expression by proxy • Jamie Reid • liberation of everyday life • Malcolm Mac Laren • Marxism • Marxist concepts • Marxist theory • May 1968 • means of production • mid-20th century advanced capitalism • mode of production • moments of life • political theorists • political theorypsychogeography • Raoul Vaneigem • reawakening • revolutionary theory • second-hand alienation • Situationist International • situationist movement • situationist theory • situations • slogan • social alienation • social dysfunction • social relations • social revolutionaries • Society of the Spectacle (Guy Debord)spectaclesurrealism • The Revolution of Everyday Life (1967) • theory of alienation • Thomas Levine • UbuWeb • unified critique • unitary urbanism • video documentary

CONTRIBUTOR

Simon Perkins
18 NOVEMBER 2016

Moby & The Void Pacific Choir: Are You Lost In The World Like Me?

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CONTRIBUTOR

Simon Perkins
30 JANUARY 2014

100+ Years of Design Manifestos

"Since the days of radical printer–pamphleteers, design and designers have a long history of fighting for what's right and working to transform society. The rise of the literary form of the manifesto also parallels the rise of modernity and the spread of letterpress printing. ...

The original list was largely drawn from Mario Piazza's presentation at the Più Design Può conference in Florence, though I've edited and added to it. I've also incorporated links where I was able to find them."

(John Emerson, 22 July 2009, Social Design Notes)

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Albe Steiner • Alberto Marangoni • Allan Chochinov • anti-manifesto • Antonio Sant Elia • architectureArts and Crafts MovementBauhaus School • Blair Enns • Bruce MauBruce SterlingBruno TautDanish designDe Stijl • Dean Allen • design manifesto • Dieter RamsDogme 95El Lissitzky • Ellen Lupton • Filippo Tommaso MarinettiFuturism • Gelsomino DAmbrosio • Giancarlo Iliprandi • Gianfranco Torri • Giovanni Anceschi • Giovanni Baule • Giovanni Lussu • GNUgood designgraphic designGuy DebordIcogradainfographicsJeffrey Zeldman • Karim Rashid • Kathleen Hanna • Ken Garland • Laszlo Moholy-Nagyletterpress printing • literary form • manifestoManuel Lima • Mario Piazza • Mark Goldman • Marke Hamburg • Michael Erard • Mitch Goldstein • Noah Scalin • pamphleteer • Patrik Schumacher • Pierre Bernard • Pino Grimaldi • publishing • radical rethinking • Scandinavian Design Council • Society of the Spectacle (Guy Debord)typography • Umair Haque • un-manifesto • Walter Gropius • Warren Berger • William McDonough • William Morris

CONTRIBUTOR

Liam Birtles
19 DECEMBER 2012

North Korean 'Propaganda' is the real viral hit of 2012

"Propaganda 2012 is a 95–minute video that presents itself as a North Korean educational video intending to inform the citizens of the Democratic People's Republic of Korea about the dangers of Western propaganda. The video's uploader, known as 'Sabine', reiterates a statement she gave to the Federal Police regarding the movie's origins. She explains how the film was given to her by people claiming to be North Korean defectors whilst she was visiting Seoul. ...

Although the origins of Propaganda 2012 are contentious, its power lies in the fact that much of its content attempts to avoid invented history. Considering the media buzzwords associated with the alleged country of origin, Propaganda 2012 turns a mirror onto the Western world and seeks to criticise its entire history and culture–from the genocide and imperialism of its past, to the interventionism and consumerism of the modern era. The movie's overall attitude seems to express an intention to educate, shock and caution its audience into realising that people in the West are governed by a super–rich ruling class (The one per cent), who do not offer them true democracy; but instead seek to invade and assimilate as many countries as possible, whilst distracting their population with a smokescreen of consumerism, celebrity, and reality television. This message is spread across the video's 17 chapters, which each attempt to focus on specific examples of Western indoctrination and oppression. The film is regularly punctuated by commentary from an anonymous North Korean professor, and quotes from Western thinkers such as Noam Chomsky and Richard Dawkins. ...

Propaganda 2012 is certainly a film where the audience takes from it what they bring to it, and a variety of emotions can be induced upon viewing. Laughter, cynicism, outrage, contemplation and reflection would all be adequate responses to the video's tough, and often graphic, portrayal of the complex world in which we are living. Yet perhaps the most important thing to remember when watching the film is that the video is available to view uncensored, on a largely unregulated world wide web, and merely represents an extreme end of the vast spectrum of free expression. Therefore, during this festive end to an austere year, enjoy Propaganda 2012 as an interesting and beguiling alternative voice that cries loudly against the dangers of religious consumerism, and reminds us to remain humble and reflect on those less fortunate than ourselves."

(Kieran Turner–Dave, 17 December 2012, Independent Arts Blogs)

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20129/11anti-capitalism • brainwashing • capitalismCentury of the Selfcommunismconspiracy theoriesconsumer cultureconsumer desireconsumerism • counter-terrorism • criticismcult of celebritycultural imperialismcultural implicationsdemocracydistractiondocumentary • DPRK • emotive manipulation • false flag • fear • fear of communism • fear of terrorism • free expression • Gangnam Style • genocidehalf-baked ideashistory and culture • hysterics • imperialism • indoctrination • interventionism • invented history • Just Do It • Korea • life in the West • likesmanufacturing consentmoralitynarcissismnationalism • neo-imperialist • Noam ChomskyNorth KoreaoppressionOprah WinfreyParis Hiltonpatriotismpolitical educationpropagandaPropaganda (2012)public relationsQuentin Tarantinoreality televisionreligion • religious consumerism • Richard Dawkins • Sabine (pseudonym) • salvation • September 11 2001shockingsmokescreensocialist realismSociety of the Spectacle (Guy Debord)South Koreaspectacle • Survivor (tv series) • terrorism • the one per cent • trust • Tyra Banks • unconscious desireswatching television

CONTRIBUTOR

David Reid
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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