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| comments on the society of the spectacle: Comments on the Society of the Spectacle Guy Debord, 2011-01-10 First published in 1967, Guy Debord’s stinging revolutionary critique ofcontemporary society, The Society of the Spectacle has since acquired acult status. Credited by many as being the inspiration for the ideasgenerated by the events of May 1968 in France, Debord’s pitiless attackon commodity fetishism and its incrustation in the practices of everydaylife continues to burn brightly in today’s age of satellite televisionand the soundbite. In Comments on the Society of the Spectacle, publishedtwenty years later, Debord returned to the themes of his previousanalysis and demonstrated how they were all the more relevant in aperiod when the “integrated spectacle” was dominant. Resolutely refusingto be reconciled to the system, Debord trenchantly slices through thedoxa and mystification offered tip by journalists and pundits to showhow aspects of reality as diverse as terrorism and the environment, theMafia and the media, were caught up in the logic of the spectacularsociety. Pointing the finger clearly at those who benefit from the logicof domination, Debord’s Comments convey the revolutionary impulse atthe heart of situationism. |
| comments on the society of the spectacle: Comments on the Society of the Spectacle Guy Debord, 1998 First published in 1967, Guy Debord's stinging revolutionary critique of contemporary society, The Society of the Spectacle, has since acquired a cult status. Credited by many as being the inspiration for the ideas generated by the events of May 1968 in France, Debord's pitiless attack on commodity fetishism and its incrustation in the practices of everyday life continues to btirn brightly in today's age of satellite television and the soundbite In Comments on the Society of the Spectacle published twenty years later, Debord returned to the themes of his previous analysis and demonstrated how they were all the more relevant in a period when the 'integrated spectacle' was dominant. Resolutely refusing to be reconciled to the system, Debord trenchantly slices through the doxa and mystification offered tip by journalists and pundits to show how aspects of reality as diverse as terrorism and the environment, the Mafia and the media, were caught in the logic of the spectacular society. Pointing the finger clearly at those who benefit from the logic of domination, Debord's Comments convey the revolutionary impulse at the heart of situationism. |
| comments on the society of the spectacle: Society Of The Spectacle Guy Debord, 2012-10-01 The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper. |
| comments on the society of the spectacle: Radical Thinkers Theodor W. Adorno, Louis Althusser, Giovanni Arrighi, 2012-02-02 The 6th set of the renowned philosophy series: beautiful covers, bargain price, classic theory. |
| comments on the society of the spectacle: Panegyric Guy Debord, 2004 Debord's audacious autobiography, here beautifully illustrated. |
| comments on the society of the spectacle: Spectacular Logic in Hegel and Debord Eric-John Russell, 2021-03-11 Revisiting Guy Debord's seminal work, The Society of the Spectacle (1967), Eric-John Russell breathes new life into a text which directly preceded and informed the revolutionary fervour of May 1968. Deepening the analysis between Debord and Marx by revealing the centrality of Hegel's speculative logic to both, he traces Debord's intellectual debt to Hegel in a way that treads new ground for critical theory. Drawing extensively from The Phenomenology of Spirit (1807) and Science of Logic (1812), this book illustrates the lasting impact of Debord's critical theory of twentieth-century capitalism and reveals new possibilities for the critique of capitalism. |
| comments on the society of the spectacle: The Spectacle of Disintegration McKenzie Wark, 2013-03-12 Following his acclaimed history of the Situationist International up until the late sixties, The Beach Beneath the Street, McKenzie Wark returns with a companion volume which puts the late work of the Situationists in a broader and deeper context, charting their contemporary relevance and their deep critique of modernity. Wark builds on their work to map the historical stages of the society of the spectacle, from the diffuse to the integrated to what he calls the disintegrating spectacle. The Spectacle of Disintegration takes the reader through the critique of political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sangunetti’s pranking of the Italian ruling class, Alice-Becker Ho’s account of the anonymous language of the Romany, Guy Debord’s late films and his surprising work as a game designer. At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets, The Spectacle of Disintegration recalls the hidden journeys taken in the attempt to leave the twentieth century, and plots an exit from the twenty first. The dustjacket unfolds to reveal a fold-out poster of the collaborative graphic essay combining text selected by McKenzie Wark with composition and drawings by Kevin C. Pyle. |
| comments on the society of the spectacle: Public Secrets Ken Knabb, 1997 The greatest hits, and a fine read for anyone interested in situationist ideas, anarchism, the 60s counterculture and beyond. Includes both two substantial new texts - 'The Joy Of Revolution' and 'Autobiography,' and reprints of all his old pamphlets, co-authored work, and translations of various situationist texts. A veritable treasure trove of pamphlets, texts, posters, comics, articles, leaflets and essays. Over 400 pages, and every one is a winner! |
| comments on the society of the spectacle: Afflicted Powers Retort (Organization : San Francisco, Calif.), Iain A. Boal, 2005-06-17 Afflicted Powers is an account of world politics since September 11, 2001. It aims to confront the perplexing doubleness of the present - its lethal mixture of atavism and new-fangledness. A brute return of the past, calling to mind now the Scramble for Africa, now the Wars of Religion, is accompanied by an equally monstrous political deployment of (and entrapment in) the apparatus of a hyper-modern production of appearances.--BOOK JACKET. |
| comments on the society of the spectacle: The Beach Beneath the Street McKenzie Wark, 2015-04-07 Over fifty years after the Situationist International appeared, its legacy continues to inspire activists, artists and theorists around the world. Such a legend has accrued to this movement that the story of the SI now demands to be told in a contemporary voice capable of putting it into the context of twenty-first-century struggles. McKenzie Wark delves into the Situationists’ unacknowledged diversity, revealing a world as rich in practice as it is in theory. Tracing the group’s development from the bohemian Paris of the ’50s to the explosive days of May ’68, Wark’s take on the Situationists is biographically and historically rich, presenting the group as an ensemble creation, rather than the brainchild and dominion of its most famous member, Guy Debord. Roaming through Europe and the lives of those who made up the movement – including Constant, Asger Jorn, Michèle Bernstein, Alex Trocchi and Jacqueline De Jong – Wark uncovers an international movement riven with conflicting passions. Accessible to those who have only just discovered the Situationists and filled with new insights, The Beach Beneath the Street rereads the group’s history in the light of our contemporary experience of communications, architecture, and everyday life. The Situationists tried to escape the world of twentieth-century spectacle and failed in the attempt. Wark argues that they may still help us to escape the twenty-first century, while we still can. |
| comments on the society of the spectacle: Media Spectacle Douglas Kellner, 2003-08-29 During the mid-1990s, the O.J. Simpson murder trial dominated the media in the United States and were circulated throughout the world via global communications networks. The case became a spectacle of race, gender, class and violence, bringing in elements of domestic melodrama, crime drama and legal drama. According to this fascinating new book, the Simpson case was just one example of what the author calls 'media spectacle' - a form of media culture that puts contemporary dreams, nightmares, fantasies and values on display. Through the analysis of several such media spectacles - including Elvis, The X Files, Michael Jordan, and the Bill Clinton sex scandals - Doug Kellner draws out important insights into media, journalism, the public sphere and politics in an era of new technologies. In this excellent follow up to his best selling Media Culture, Kellner's fascinating new volume delivers an informative read for students of sociology, culture and media. |
| comments on the society of the spectacle: Against His-story, Against Leviathan! Fredy Perlman, 2016 |
| comments on the society of the spectacle: Guy Debord Vincent Kaufmann, 2006 In this ambitious and innovative biography, Kaufmann deftly locates his subject within the historical and intellectual context of the radical social, political, and artistic movements in which he participated. |
| comments on the society of the spectacle: Bread and Beauty: The Cultural Politics of José Carlos Mariátegui Juan E. De Castro, 2020-10-20 Bread and Beauty is a study of the works and life of José Carlos Mariátegui (1894-1930), the autodidact Peruvian scholar and revolutionary activist frequently considered the most important Latin American Marxist. |
| comments on the society of the spectacle: Abolitionist Socialist Feminism Zillah Eisenstein, 2019-05-22 A personal and political manifesto vying for an antiracist socialist feminist movement of movements The world is burning, flooding, and politically exploding, to the point where it’s become clear that neoliberal feminism—the kind that aims to elect The First Woman President—will never be enough. In this book, Zillah Eisenstein asks us to consider what it would mean to thread “socialism” to feminism; then, what it would mean to thread “abolitionism” to socialist feminism. She asks all of us, especially white women, to consider what it would mean to risk everything to abolish white supremacy, to uproot the structural knot of sex, race, gender, and class growing from that imperial whiteness. If we are to create a revolution that is totally liberatory, we need to pool together in a new working class, building a radical movement made of movements. Eisenstein’s manifesto is built on almost half a century of her antiracist socialist feminist work. But now, she writes with a new urgency and imaginativeness. Eisenstein asks us not to be limited by reforms, but to radicalize each other on differing fronts. Our task is to build bridges, to connect disparate and passionate people across aisles, state lines, picket lines, and more. The genius force demanding that we abolish white supremacy can also create a new “we” for all of us—a humanity universally accepting of our complexities and differences. We are in uncharted waters, but that is exactly where we need to be. |
| comments on the society of the spectacle: The Culture of Punishment Michelle Brown, 2009-10-15 America is the most punitive nation in the world, incarcerating more than 2.3 million people—or one in 136 of its residents. Against the backdrop of this unprecedented mass imprisonment, punishment permeates everyday life, carrying with it complex cultural meanings. In The Culture of Punishment, Michelle Brown goes beyond prison gates and into the routine and popular engagements of everyday life, showing that those of us most distanced from the practice of punishment tend to be particularly harsh in our judgments. The Culture of Punishment takes readers on a tour of the sites where culture and punishment meet—television shows, movies, prison tourism, and post 9/11 new war prisons—demonstrating that because incarceration affects people along distinct race and class lines, it is only a privileged group of citizens who are removed from the experience of incarceration. These penal spectators, who often sanction the infliction of pain from a distance, risk overlooking the reasons for democratic oversight of the project of punishment and, more broadly, justifications for the prohibition of pain. |
| comments on the society of the spectacle: The Twittering Machine Richard Seymour, 2020-09-22 A brilliant probe into the political and psychological effects of our changing relationship with social media Former social media executives tell us that the system is an addiction-machine. We are users, waiting for our next hit as we like, comment and share. We write to the machine as individuals, but it responds by aggregating our fantasies, desires and frailties into data, and returning them to us as a commodity experience. The Twittering Machine is an unflinching view into the calamities of digital life: the circus of online trolling, flourishing alt-right subcultures, pervasive corporate surveillance, and the virtual data mines of Facebook and Google where we spend considerable portions of our free time. In this polemical tour de force, Richard Seymour shows how the digital world is changing the ways we speak, write, and think. Through journalism, psychoanalytic reflection and insights from users, developers, security experts and others, Seymour probes the human side of the machine, asking what we’re getting out of it, and what we’re getting into. Social media held out the promise that we could make our own history–to what extent did we choose the nightmare that it has become? |
| comments on the society of the spectacle: The Most Radical Gesture Sadie Plant, 2002-01-22 This book is the first major study of the Situationist International. Tracing the history, ideas and influences of this radical and inspiring movement from dada to postmodernism, it argues that situationist ideas of art, revolution, everyday life and the spectacle continue to inform a variety of the most urgent poltical events, cultural movements, and theoretical debates of our times. |
| comments on the society of the spectacle: Why Are We Yelling? Buster Benson, 2019-11-28 ‘This is a life-changing book. Read it three times and then give a copy to anyone you care about. It will make things better’ – Seth Godin, author of This Is Marketing Why Are We Yelling? is Buster Benson’s essential guide to having more honest and constructive arguments. Have you ever walked away from an argument and suddenly thought of all the brilliant things you wish you'd said? Do you avoid certain family members and colleagues because of bitter, festering tension that you can't figure out how to address? Now, finally, there's a solution: a new framework that frees you from the trap of unproductive conflict and pointless arguing forever. If the threat of raised voices, emotional outbursts, and public discord makes you want to hide under the conference room table, you're not alone. Conflict, or the fear of it, can be exhausting. But as this powerful book argues, conflict doesn't have to be unpleasant. In fact, properly channeled, conflict can be the most valuable tool we have at our disposal for deepening relationships, solving problems, and coming up with new ideas. As the mastermind behind some of the highest-performing teams at Amazon, Twitter, and Slack, Buster Benson spent decades facilitating hard conversations in stressful environments. In this book, Buster reveals the psychological underpinnings of awkward, unproductive conflict and the critical habits anyone can learn to avoid it. Armed with a deeper understanding of how arguments, you'll be able to: * Remain confident when you're put on the spot * Diffuse tense moments with a few strategic questions * Facilitate creative solutions even when your team has radically different perspectives Why Are We Yelling? will shatter your assumptions about what makes arguments productive. You'll find yourself having fewer repetitive, predictable fights once you're empowered to identify your biases, listen with an open mind, and communicate well. ‘All you need is Buster Benson. His methods are instantly actionable, [and] his writing is funny and relatable’ – Adam Grant, author of Originals |
| comments on the society of the spectacle: The Society of the Spectacle (with Notes from Heath Schultz) Heath Schultz, 2019-09-23 The Society of the Spectacle (with notes from Heath Schultz) |
| comments on the society of the spectacle: The Great Derangement Amitav Ghosh, 2017-07-24 Are we deranged? The acclaimed Indian novelist Amitav Ghosh argues that future generations may well think so. How else to explain our imaginative failure in the face of global warming? In his first major book of nonfiction since In an Antique Land, Ghosh examines our inability—at the level of literature, history, and politics—to grasp the scale and violence of climate change. The extreme nature of today’s climate events, Ghosh asserts, make them peculiarly resistant to contemporary modes of thinking and imagining. This is particularly true of serious literary fiction: hundred-year storms and freakish tornadoes simply feel too improbable for the novel; they are automatically consigned to other genres. In the writing of history, too, the climate crisis has sometimes led to gross simplifications; Ghosh shows that the history of the carbon economy is a tangled global story with many contradictory and counterintuitive elements. Ghosh ends by suggesting that politics, much like literature, has become a matter of personal moral reckoning rather than an arena of collective action. But to limit fiction and politics to individual moral adventure comes at a great cost. The climate crisis asks us to imagine other forms of human existence—a task to which fiction, Ghosh argues, is the best suited of all cultural forms. His book serves as a great writer’s summons to confront the most urgent task of our time. |
| comments on the society of the spectacle: Birds of Paradise Marketa Uhlirova, 2013 Tiré du site Internet Cornerhouse Publications: Birds of Paradise: Costume as Cinematic Spectacle explores cinema's poetic fascination with animated dress, jewellery and adornment and carefully considers the relationship between screen expressions and those of related time-based forms, especially dance and theatre. |
| comments on the society of the spectacle: The Situationist City Simon Sadler, 1999-08-18 Simon Sadler searches for the Situationist City among the detritus of tracts, manifestos, and works of art that the Situationist International left behind. From 1957 to 1972 the artistic and political movement known as the Situationist International (SI) worked aggressively to subvert the conservative ideology of the Western world. The movement's broadside attack on establishment institutions and values left its mark upon the libertarian left, the counterculture, the revolutionary events of 1968, and more recent phenomena from punk to postmodernism. But over time it tended to obscure Situationism's own founding principles. In this book, Simon Sadler investigates the artistic, architectural, and cultural theories that were once the foundations of Situationist thought, particularly as they applied to the form of the modern city. According to the Situationists, the benign professionalism of architecture and design had led to a sterilization of the world that threatened to wipe out any sense of spontaneity or playfulness. The Situationists hankered after the pioneer spirit of the modernist period, when new ideas, such as those of Marx, Freud, and Nietzsche, still felt fresh and vital. By the late fifties, movements such as British and American Pop Art and French Nouveau Ralisme had become intensely interested in everyday life, space, and mass culture. The SI aimed to convert this interest into a revolution—at the level of the city itself. Their principle for the reorganization of cities was simple and seductive: let the citizens themselves decide what spaces and architecture they want to live in and how they wish to live in them. This would instantly undermine the powers of state, bureaucracy, capital, and imperialism, thereby revolutionizing people's everyday lives. Simon Sadler searches for the Situationist City among the detritus of tracts, manifestos, and works of art that the SI left behind. The book is divided into three parts. The first, The Naked City, outlines the Situationist critique of the urban environment as it then existed. The second, Formulary for a New Urbanism, examines Situationist principles for the city and for city living. The third, A New Babylon, describes actual designs proposed for a Situationist City. |
| comments on the society of the spectacle: Palestine Sumaya Awad, brian bean, 2020-12-01 This essay collection presents a compelling and insightful analysis of the Palestinian freedom movement from a socialist perspective. In Palestine: A Socialist Introduction, contributors examine a number of key aspects in the Palestinian struggle for liberation. These essays contextualize the situation in today’s polarized world and offer a socialist perspective on how full liberation can be won. Through an internationalist, anti-imperialist lens, this book explores the links between the struggle for freedom in the United States and that in Palestine, and beyond. Contributors examine both the historical and contemporary trajectory of the Palestine solidarity movement in order to glean lessons for today’s organizers. They argue that, in order to achieve justice in Palestine, the movement must take up the question of socialism regionally and internationally. Contributors include: Jehad Abusalim, Shireen Akram-Boshar, Omar Barghouti, Nada Elia, Toufic Haddad, Remi Kanazi, Annie Levin, Mostafa Omar, Khury Petersen-Smith, and Daphna Thier. |
| comments on the society of the spectacle: History Has Begun Bruno Macaes, 2022-03-04 Popular consensus says that the US rose over two centuries to Cold War victory and world domination, and is now in slow decline. But is this right? History’s great civilisations have always lasted much longer, and for all its colossal power, the US was overshadowed by Europe until recently. What if this isn’t the end? Bruno Maçães offers a compelling vision of America’s future, both fascinating and unnerving. From the early American Republic, Maçães takes us to the turbulent present, when, he argues, America is finally forging its own path. We can see the birth pangs of this new civilisation in today’s debates on guns, religion, foreign policy and the significance of Trump. What will its values be, and what will this new America look like? |
| comments on the society of the spectacle: The Longest Day of the Future Lucas Varela, 2016-08-31 In a futuristic city, two mega-companies share power, while indulging in a thankless war to eliminate the other, by any means necessary. The crash of an extraterrestrial flying saucer will, perhaps, change that. This masterfully crafted, witty and irreverent graphic novel is Argentine cartoonist and graphic designer Lucas Varela's debut. |
| comments on the society of the spectacle: The Cinematic Mode of Production Jonathan Beller, 2012-06-12 A revolutionary reconceptualization of capital and perception during the twentieth century. |
| comments on the society of the spectacle: Lipstick Traces Greil Marcus, 1990 Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. âeoeI am an antichrist!âe shouted singer Johnny Rottenâewhere in the world of pop music did that come from? Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise.This is no mere search for cultural antecedents. Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demandsâedemands on society, art, and all the governing structures of everyday lifeâeseem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other. Marcus lets us hear strange yet familiar voices: of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth-century England; the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia; one Michel Mourre, who in 1950 took over Easter Mass at Notre-Dame to proclaim the death of God; the Lettrist International and the Situationist International, small groups of Parisâebased artists and writers surrounding Guy Debord, who produced blank-screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and âe(tm)60s; the rioting students and workers of May âe(tm)68, scrawling cryptic slogans on city walls and bringing France to a halt; the Sex Pistols in London, recording the savage âeoeAnarchy in the U.K.âe and âeoeGod Save the Queen.âe Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music; it is about a common voice, discovered and transmitted in many forms. Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real: a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances. Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself. |
| comments on the society of the spectacle: Spectacle in the Roman World Hazel Dodge, 2011-01-27 Gladiatorial combat, animal displays, naumachiae (staged naval battles) and spectacular executions were all an important part of Roman culture. The provision of a wide range of purpose-built buildings (from theatres to amphitheatres to circuses) as venues across the empire is testimony to the popularity and significance of these displays. This book offers an introduction to the main forms of spectacle in the Roman world (human and animal combat, chariot racing, aquatic displays), their nature, context and social importance. It will explore the vast array of sources, from literary to archaeological material, that informs the subject. It will examine the spectacles with special emphasis on their physical setting, and will also consider the variation in the provision of venues and their context across the Empire. A final section will review the modern reception of Roman spectacles, especially those involving gladiators. |
| comments on the society of the spectacle: Christopher Williams Mark Benjamin Godfrey, Christopher Williams, Roxana Marcoci, 2014 Chronologically examining the nature of his art within the context of mass media and photojournalism, this handsome volume charts the thirty-year career of the artist and photographer Christopher Williams (b. 1956). Featuring 100 color illustrations, the book also includes a trio of essays by authors Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky that demonstrate how Williams, with high craft and a critical eye, deliberately engages yet reinterprets the conventions of photojournalism, picture archives, and commercial imagery through uncanny mimicry. Committed to the history of photography as a medium of art and intellectual inquiry, Williams's current series tackles the interplay of photography and cinema, upending viewer expectations and the role of spectacle-- |
| comments on the society of the spectacle: Cloudstreet Tim Winton, 1992 ‘A fragmented, hilarious, crude, mystical soap opera. In a rich Australian idiom, Winton lets his characters rip against an evocation of Perth so intense you can smell it’ Sunday Telegraph Cloudstreet – a broken-down house of former glories on the wrong side of the tracks, a place teeming with memories of its own, a place of shudders and shadows and spirits. From separate catastrophes, two families flee to the city and find themselves sharing this great sighing structure and beginning their lives again from scratch. Together they roister and rankle in a house that begins as a roof over their heads and becomes a home for their hearts. In this fresh, funny novel, full of wonder and dreams, Tim Winton weaves the threads of lifetimes, of twenty years of shouting and fighting, laughing and grafting, into a story about acceptance and belonging. ‘Imagine Neighbours being taken over by the writing team of John Steinbeck and Gabriel García Márquez and you’ll be close to the heart of Winton’s impressive tale’ Time Out |
| comments on the society of the spectacle: Aesthetic Capitalism Eduardo de la Fuente, Peter Murphy, 2014-06-26 Aesthetic Capitalism debates the social aesthetics of contemporary economic processes. The book connects modern cultural dynamics with the workings of contemporary capitalism. It explores art and the new spirit of capitalism; visual culture and the experience economy; aesthetics and organisations; the art of fiscal management; capitalism without myth; and architecture in the age of aesthetic capitalism. Contributors include: Peter Murphy, Eduardo de la Fuente, Antonio Strati, Ken Friedman, Dominique Bouchet, Anders Michelsen, David Roberts, Carlo Tognato |
| comments on the society of the spectacle: A Spectacle of Corruption David Liss, 2004-03-16 Benjamin Weaver, the quick-witted pugilist turned private investigator, returns in David Liss’s sequel to the Edgar Award–winning novel, A Conspiracy of Paper. “[A] wonderful book . . . every bit as good as [Liss’s] remarkable debut . . . easily one of the year’s best.”—The Boston Globe Moments after his conviction for a murder he did not commit, at a trial presided over by a judge determined to find him guilty, Benjamin Weaver is accosted by a stranger who cunningly slips a lockpick and a file into his hands. In an instant he understands two things: Someone wants him to hang—and another equally mysterious agent is determined to see him free. After a daring escape from eighteenth-century London’s most notorious prison, Weaver must face another challenge: to prove himself innocent when the corrupt courts have shown they care nothing for justice. Unable to show his face in public, Weaver pursues his inquiry disguised as a wealthy merchant seeking to involve himself in the contentious world of politics. Desperately navigating a labyrinth of schemers, crime lords, assassins, and spies, Weaver learns that in an election year, little is what it seems and the truth comes at a staggeringly high cost. Praise for A Spectacle of Corruption “[A] rousing sequel of historical, intellectual suspense. ”—San Antonio Express-News “Liss is a superb writer who evokes the squalor of London with Hogarthian gusto.”—People “In Benjamin Weaver, Mr. Liss has created a multifaceted character and a wonderful narrator.”—The New York Sun |
| comments on the society of the spectacle: Spectacular Capitalism Richard Gilman-Opalsky, 2011 Literary Nonfiction. Philosophy & Critical Theory. Despite recent crises in the financial system, uprisings in Greece; France; Tunisia; and Bolivia, worldwide decline of faith in neoliberal trade policies, deepening ecological catastrophes, and global deficits of realized democracy, we still live in an era of spectacular capitalism. But what is spectacular capitalism? Spectacular capitalism is the dominant mythology of capitalism that disguises its internal logic and denies the macroeconomic reality of the actually existing capitalist world. Taking on this elusive mythology, and those who too easily accept it, Richard Gilman-Opalsky exposes the manipulative and self-serving narrative of spectacular capitalism. Drawing on the work of Guy Debord, Gilman-Opalsky argues that the theory of practice and practice of theory are superseded by upheavals that do the work of philosophy. |
| comments on the society of the spectacle: The Art-architecture Complex Hal Foster, 2011 No Marketing Blurb |
| comments on the society of the spectacle: Complete Cinematic Works Guy Debord, 2003 |
| comments on the society of the spectacle: Agamben and Radical Politics McLoughlin Daniel McLoughlin, 2016-06-01 These 12 essays give you new perspectives on how Agamben's work is increasingly relevant to economy and political action: the two ideas that frame the most pressing problems of global politics. New analyses of Agamben's recent work on government and his relationship to the revolutionary tradition opening up new ways of thinking about politics and critical theory in the post-financial crisis world. Contributors: Daniel McLoughlin Giorgio Agamben Jason E. Smith Jessica Whyte Justin Clemens Mathew Abbott Miguel Vatter Nicholas Heron Sergei Prozorov Simone Bignall Steven DeCaroli |
| comments on the society of the spectacle: The Painting of Modern Life T.J. Clark, 2017-06-28 From T.J. Clark comes this provocative study of the origins of modern art in the painting of Parisian life by Edouard Manet and his followers. The Paris of the 1860s and 1870s was a brand-new city, recently adorned with boulevards, cafés, parks, Great Exhibitions, and suburban pleasure grounds—the birthplace of the habits of commerce and leisure that we ourselves know as modern life. A new kind of culture quickly developed in this remade metropolis, sights and spectacles avidly appropriated by a new kind of consumer: clerks and shopgirls, neither working class nor bourgeois, inventing their own social position in a system profoundly altered by their very existence. Emancipated and rootless, these men and women flocked to the bars and nightclubs of Paris, went boating on the Seine at Argenteuil, strolled the island of La Grande-Jatte—enacting a charade of community that was to be captured and scrutinized by Manet, Degas, and Seurat. It is Clark's cogently argued (and profusely illustrated) thesis that modern art emerged from these painters' attempts to represent this new city and its inhabitants. Concentrating on three of Manet's greatest works and Seurat's masterpiece, Clark traces the appearance and development of the artists' favorite themes and subjects, and the technical innovations that they employed to depict a way of life which, under its liberated, pleasure-seeking surface, was often awkward and anxious. Through their paintings, Manet and the Impressionists ask us, and force us to ask ourselves: Is the freedom offered by modernity a myth? Is modern life heroic or monotonous, glittering or tawdry, spectacular or dull? The Painting of Modern Life illuminates for us the ways, both forceful and subtle, in which Manet and his followers raised these questions and doubts, which are as valid for our time as for the age they portrayed. |
| comments on the society of the spectacle: The Joy of Revolution Ken Knabb, 2021-01-30 The Joy of Revolution is a short work by Ken Knabb originally published in 1997 in Public Secrets: Collected Skirmishes of Ken Knabb. The Joy of Revolution traverses many topics, from the conceptions of utopia to May 1968 to radical film theory to ecology. The book begins with an overview of the failure of Bolshevism and reformism, it examines the pros and cons of a wide range of radical tactics, then concludes with some speculations on what a liberated society might be like. |
| comments on the society of the spectacle: A Game of War Alice Becker-Ho, Guy Debord, 2007 Guy Debord is known principally for being the chief instigator and theorist of the Situationist International and as the author of The Society of the Spectacle. His first volume of autobiography, Panegyric, revealed his interest in classical war theory as espoused by Clausewitz, and A Game of War was written in collaboration with his future wife Alice Becker-Ho. This is the first version of the book to include a game board and counters, which allow the game to be played according to the instructions enclosed. |
Comments on the Society of the Spectacle. (1) - libcom.org
In 1967, in a book entitled The Society of the Spectacle, I showed what the modern spectacle was already in essence: the autocratic reign of the market economy which had acceded to an …
Comments on the Society of the Spectacle - Void Network
Wherever the spectacle rules, the only organized forces are those that want the spectacle. No one can any longer be the enemy of what exists, nor transgress the omerta that concerns everything.
Co - Monoskop
Comments on the Society of the Spectacle the spectacle would be merely the excesses of the media, whose nature, unquestionably good since it facilitates communication, is sometimes …
The Society of the Spectacle - Archive.org
Comments on the Society of the Spectacle offered irrefutable evidence that the former "worldwide division of spectacular tasks" between the rival realms of the "concentrated" and "diffuse" …
Comments On The Society Of The Spectacle - logolineup
the Spectacle The Society of Equals Collaborative Society The Society The Society Creating a Learning Society Portfolio Society Society Ties Captive Society The Society #StalkerProblems …
Comments On The Society Of The Spectacle (book)
The Society of the Spectacle Guy Debord,2024-09-03 The Society of the Spectacle is a carefully considered effort to clarify the most fundamental tendencies and contradictions of the society …
Comments on the Society of the Spectacle - NOT BORED
In 1967, in a book entitled The Society of the Spectacle, I showed what the modern spectacle was already in essence: the autocratic reign of the market economy, which had acceded to an …
Guy Debord Society Of The Spectacle - archive.ncarb.org
television and the soundbite In Comments on the Society of the Spectacle published twenty years later Debord returned to the themes of his previous analysis and demonstrated how they were …
Society of the Spectacle
In societies dominated by modern conditions of production, life is presented as an immense accu-mulation of spectacles. Everything that was directly lived has receded into a representation. …
Comments On The Society Of The Spectacle - perseus
3 Comments On The Society Of The Spectacle Thomas Foster Society for the Propagation of the Gospel in Foreign Parts (Great Britain) Andreas Reckwitz Randall Collins the book in society …
Comments On The Society Of The Spectacle (2024)
Guy Debord's seminal work, The Society of the Spectacle, remains strikingly relevant in today's hyper-mediated world. This essay delves into Debord's critique of advanced capitalist …
Marginal Notes on Comments on the Society of the Spectacle.
Marginal Notes on Comments on the Society of the Spectacle. (2) GUY DEBORD’s books constitute the clearest and most severe analysis of the miseries and slavery of a society that …
Guy Debord | Comments on Society of the Spectacle 1988 On ...
Guy Debord | Comments on Society of the Spectacle | 1988 On Disinformation Section XVI. Part One 1. The relatively new concept of disinformation was recently imported from Russia, along …
The Society of the Spectacle - pmpress.org
As Debord noted in his follow-up work, Comments on the Society of the Spectacle (1988), “spectacular domination has succeeded in raising an entire generation molded to its laws.” …
Comments On The Society Of The Spectacle
Jul 3, 2023 · Comments on the Society of the Spectacle Guy Debord,1998 First published in 1967, Guy Debord's stinging revolutionary critique of contemporary society, The Society of the …
Conrad and the Society of the Spectacle - JSTOR
"with the deliberate intention of doing harm to spectacular society" (1994: n.p.1), in response to what he viewed as the mind-numbing impact of governments and the mass media on …
Comments On The Society Of The Spectacle - Chris Hedges …
Comments on the Society of the Spectacle Guy Debord,1998 First published in 1967, Guy Debord's stinging revolutionary critique of contemporary society, The Society of the Spectacle, …
The Society of the Spectacle and the Society of Control.
The society of the spectacle - Guy Debord's manifesto book was one of the most influential works of the so-called situationists1 in the events of May 68 in France. The work presents us with a …
THE SOCIETY OF THE SPECTACLE - libcom.org
As Debord noted in his follow-up work, Comments on the Society of the Spectacle (1988), "spectacular domination has succeeded in raising an entire generation molded to its laws."
Illustrated Guide to Guy Debord’s ‘The Society of the Spectacle’
Guy Debord’s (1931–1994) best-known work, La société du spectacle (The Society of the Specta-cle) (1967), is a polemical and prescient indictment of our image-saturated consumer culture. …
Comments on the Society of the Spectacle. (1) - libcom.org
In 1967, in a book entitled The Society of the Spectacle, I showed what the modern spectacle was already in essence: the autocratic reign of the market economy which had acceded to an …
Comments on the Society of the Spectacle - Void Network
Wherever the spectacle rules, the only organized forces are those that want the spectacle. No one can any longer be the enemy of what exists, nor transgress the omerta that concerns everything.
Co - Monoskop
Comments on the Society of the Spectacle the spectacle would be merely the excesses of the media, whose nature, unquestionably good since it facilitates communication, is sometimes …
The Society of the Spectacle - Archive.org
Comments on the Society of the Spectacle offered irrefutable evidence that the former "worldwide division of spectacular tasks" between the rival realms of the "concentrated" and "diffuse" …
Comments On The Society Of The Spectacle - logolineup
the Spectacle The Society of Equals Collaborative Society The Society The Society Creating a Learning Society Portfolio Society Society Ties Captive Society The Society #StalkerProblems …
Comments On The Society Of The Spectacle (book)
The Society of the Spectacle Guy Debord,2024-09-03 The Society of the Spectacle is a carefully considered effort to clarify the most fundamental tendencies and contradictions of the society …
Comments on the Society of the Spectacle - NOT BORED
In 1967, in a book entitled The Society of the Spectacle, I showed what the modern spectacle was already in essence: the autocratic reign of the market economy, which had acceded to an …
Guy Debord Society Of The Spectacle - archive.ncarb.org
television and the soundbite In Comments on the Society of the Spectacle published twenty years later Debord returned to the themes of his previous analysis and demonstrated how they were …
Society of the Spectacle
In societies dominated by modern conditions of production, life is presented as an immense accu-mulation of spectacles. Everything that was directly lived has receded into a representation. …
Comments On The Society Of The Spectacle - perseus
3 Comments On The Society Of The Spectacle Thomas Foster Society for the Propagation of the Gospel in Foreign Parts (Great Britain) Andreas Reckwitz Randall Collins the book in society …
Comments On The Society Of The Spectacle (2024)
Guy Debord's seminal work, The Society of the Spectacle, remains strikingly relevant in today's hyper-mediated world. This essay delves into Debord's critique of advanced capitalist …
Marginal Notes on Comments on the Society of the …
Marginal Notes on Comments on the Society of the Spectacle. (2) GUY DEBORD’s books constitute the clearest and most severe analysis of the miseries and slavery of a society that …
Guy Debord | Comments on Society of the Spectacle 1988 …
Guy Debord | Comments on Society of the Spectacle | 1988 On Disinformation Section XVI. Part One 1. The relatively new concept of disinformation was recently imported from Russia, along …
The Society of the Spectacle - pmpress.org
As Debord noted in his follow-up work, Comments on the Society of the Spectacle (1988), “spectacular domination has succeeded in raising an entire generation molded to its laws.” …
Comments On The Society Of The Spectacle
Jul 3, 2023 · Comments on the Society of the Spectacle Guy Debord,1998 First published in 1967, Guy Debord's stinging revolutionary critique of contemporary society, The Society of the …
Conrad and the Society of the Spectacle - JSTOR
"with the deliberate intention of doing harm to spectacular society" (1994: n.p.1), in response to what he viewed as the mind-numbing impact of governments and the mass media on …
Comments On The Society Of The Spectacle - Chris Hedges …
Comments on the Society of the Spectacle Guy Debord,1998 First published in 1967, Guy Debord's stinging revolutionary critique of contemporary society, The Society of the Spectacle, …
The Society of the Spectacle and the Society of Control.
The society of the spectacle - Guy Debord's manifesto book was one of the most influential works of the so-called situationists1 in the events of May 68 in France. The work presents us with a …
THE SOCIETY OF THE SPECTACLE - libcom.org
As Debord noted in his follow-up work, Comments on the Society of the Spectacle (1988), "spectacular domination has succeeded in raising an entire generation molded to its laws."
Illustrated Guide to Guy Debord’s ‘The Society of the Spectacle’
Guy Debord’s (1931–1994) best-known work, La société du spectacle (The Society of the Specta-cle) (1967), is a polemical and prescient indictment of our image-saturated consumer culture. …
