Debord, Time and Spectacle addresses the philosophical content of Guy Debord and the Situationists' work. It reconstructs the Hegelian and Marxian elements of Debord's theory of 'spectacle', and ...presents a critical reading that foregrounds his concerns with time and history.
New Noise? Kohlbry, Marc
New literary history,
03/2023, Letnik:
54, Številka:
2
Journal Article
Recenzirano
October 26, 1966: At his inaugural lecture as professorial chair at the University of Strasbourg, the French cybernetician Abraham A. Moles was met not with applause but with tomatoes.1 Those ...responsible for the projectiles were members of the Situationist International (SI), the revolutionary avant-garde organization led by Guy Debord whose influence would color the uprisings of Mai 68. Taken together, these events can be seen as part of a continuum: while the SI later claimed the tomatoes to have been a preliminary action for their dissemination of On the Poverty of Student Life that fall, the subsequent media outcry over this pamphlet is still interpreted as a catalyst for the events of '68.
O objetivo principal do artigo é desenvolver uma reflexão sobre a atualidade do pensamento de Guy Debord, em especial dos seus conceitos sobre as relações de poder na sociedade do espetáculo. Tendo ...em vista este objetivo, pretende-se trabalhar como ele entende a relação entre política, comunicação e a vida cotidiana. Será realizada uma análise comparativa do livro A Sociedade do Espetáculo, publicado em 1967, com o texto Comentários Sobre a Sociedade do Espetáculo, publicado em 1988. Além disso, será estabelecido também um confronto entre os conceitos de poder deste autor com os conceitos de Foucault e Baudrillard. O argumento central do trabalho é o de que os conceitos de poder de Debord podem contribuir de maneira significativa para a compreensão de aspectos fundamentais da situação política contemporânea.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, ODKLJ, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
4.
A Violence Other than Violence Carvalho, Luhuna
The South Atlantic quarterly,
01/2023, Letnik:
122, Številka:
1
Journal Article
Recenzirano
This article looks at several attempts to conceptualize a legitimate use of revolutionary violence in the anti‐authoritarian revolutionary movements of the 1960s and 1970s. The central problem ...confronting the repertoire of action in this period lay in understanding how a violence deployed to fight power could avoid reproducing instances of this same power. Some, like Guy Debord, proposed a framework in which the revolutionary subject employs violence without becoming subject to such violence itself. Others, like Antonio Negri, sought to distinguish among various regimes of violence, arguing that true state violence was modally distinct from revolutionary violence, or the concrete materialization of a proletarian potentiality. Although opposed, both of these perspectives strive to mitigate or restrain the brutal subjectivation attending the exercise of violence. Placing this debate against the background of Walter Benjamin's claim, in his “Critique of Violence,” that a “divine violence” that would neither sustain nor uphold law is “undisclosed to human beings,” this article argues that the
movement in 1970s Italy reveals how such undisclosedness, such invisibility, becomes incarnated in a social form. If it is only by abandoning a concept of sovereign victory that a form of divine violence can appear, this is because its appearance coincides with the destitution of the cohesion of the social body upholding state sovereignty. Revolutionary violence is not nonviolence but, rather, a violence other than violence, a form of power whose content is a subjectivation beyond the problematic of sovereignty.
Interruptions from Speech Andrea Soto Calderón; Antonio Gómez Villar
Performance research,
06/2021, Letnik:
26, Številka:
5
Journal Article
Recenzirano
Based on the analysis of a lullaby composed by the artists María Salgado and Fran MM Cabeza de Vaca, this article examines the lullaby genre in relation to the interruption caused by the pandemic and ...discusses how these artists bend the genre slightly insofar as they invite their audience to discover new potential worlds rather than avoiding and soothing danger. The first part of the text develops a relationship with the artists’ recovery of the insurgent sounds found in folk songs, as places that preserve the memory of futures that never materialized: specifically, a pamphlet created by Guy Debord of fragments of folk songs, including García Lorca’s ‘Nana de Sevilla’ (‘Seville Lullaby’). By distorting this melody and the folk lyrics, the artists compose a new lullaby for an era that can no longer sleep. Their aim is not so much to dwell on this loss but to explore the strength of our sound.Lullabies are considered a minor music genre, but the hypothesis of this text is that they have a collective strength that appears when they are sung. The politics of speech have traced a categorical social division between those who speak well and those who speak badly, between those who have a right to a voice and those who remain outside the distribution of words. And yet it is precisely in the so-called ‘poor’ verbal constructions that a richer, denser and more unique meaning emerges. That is the interest behind this artistic experiment that explores the ways in which we produce and perceive the interruptions that arise in sound, music and speech as a means of understanding where imbalances occur, or may occur, where it is possible to activate another sensitive imagination.
Guy Debord's thought is invariably associated with a certain experience and critique of time. I am attempting to trace the concept of time in his cinematographic legacy and in the creation of his ...private mythology. In following Janet Harbord's notion of ex-centric cinema which defines a project of potentiality in the realm of experience, I am focusing on this particular kind of cinema that escapes the established forms and the non-lived. My aim is to trace through the method of film archaelogy, the fragments of temporality, and to bring to the surface the concept of time and its manifestation in variable forms in Debord's cinematographic language. Thus, I am exploring the potentiality of the virtual in his cinema.In order to trace the experience of the concept of time in Debord's cinema, I am discussing the discursive formation in two of his films: Critique of Separation (1961) and On The Passage of a Few Persons Through a Rather Unity of Time (1959). Whilst being composed of a variety of documentary footage, of shots of the urban landscape and of tracking shots of photographs, the films are a record of an invisible history that takes place within the city. The diegesis of the film is being formed by the narrator that argues about a micro-society that created a network of interactions within the urban landscape. I am focusing on the voice-over of Debord and particularly on his rhetoric. I am discussing how his language functions in relation to the images thus constructing a montage-palimpsest.
Abstract With the present paper, the author explores the width of the situationist critique of architecture and urbanism with the overview of already established patterns of interpretation regarding ...the heritage of the Situationist International as well as the Letterist International. Concerning specific positions that a few authors take regarding the question of architecture and urban planning, we can follow a relatively consistent line of thought in the development of the ideas of unitary urbanism to the society of the spectacle mainly through Constant Nieuwenhuys, Ivan Chtcheglov, and Guy Debord. Led by the revolutionary aesthetics of psychogeographical experiment, these authors anticipate the contemporary movement of connectivism, simulation politics, and outerworld architectures like cyberspace, but also develop the seeds of its critique. For the situationist writers, the urban, the architecture is a picture, a map of constructed restraints posed on culture, language, and life respectively; precisely the materiality of the spectacle is-in this particular form-the primary situationist target for radical detournement and diversion of its meaning.
This essay attempts to bring the politics of anti-humanism up to date with the late twentieth and early twenty-first centuries by juxtaposing the humanistic figure of the realist writer with the ...anti-humanism of the terrorist, a figure that is pervasive in late twentieth century fiction. A prominent public intellectual in his native France, since the atrocities of 9/11 and the 2015 Charlie Hebdo attacks Houellebecq has been inextricably associated with terrorism and this essay attempts to establish why. Looking both inside and outside his writing, it suggests ways in which Houellebecq has been used by discourses of power to construct terrorism as a political reality. It also considers how far the author himself has played a knowing role in this process, examining - with reference to fellow contemporary writers Yann Moix, Martin Amis and theorists Guy Debord and Bifo Berardi - signs of his ambiguous sympathy for terroristic impulses. I end by comparing Houellebecq to other novelists who also employ the figure of the terrorist - among them Paul Auster and Don DeLillo - and by illustrating a larger trend in twenty first century literature towards the radical reworking of a Romantic association between writing and terror.
Spectacle 2.0 recasts Debord's theory of spectacle within the frame of 21st century digital capitalism. It offers a reassessment of Debord’s original notion of Spectacle from the late 1960s, of its ...posterior revisitation in the 1990s, and it presents a reinterpretation of the concept within the scenario of contemporary informational capitalism and more specifically of digital and media labour. It is argued that the Spectacle 2.0 form operates as the interactive network that links through one singular (but contradictory) language and various imaginaries, uniting diverse productive contexts such as logistics, finance, new media and urbanism. Spectacle 2.0 thus colonizes most spheres of social life by processes of commodification, exploitation and reification. Diverse contributors consider the topic within the book’s two main sections: Part I conceptualizes and historicizes the Spectacle in the context of informational capitalism; contributions in Part II offer empirical cases that historicise the Spectacle in relation to the present (and recent past) showing how a Spectacle 2.0 approach can illuminate and deconstruct specific aspects of contemporary social reality. All contributions included in this book rework the category of the Spectacle to present a stimulating compendium of theoretical critical literature in the fields of media and labour studies. In the era of the gig-economy, highly mediated content and President Trump, Debord’s concept is arguably more relevant than ever.
This article takes a trans-historical approach to the notion of a baroque aesthetic as the expression of a particular set of societal and cultural circumstances. Drawing on the works of French ...philosophers, Michel Foucault, Jacques Derrida, and Christine Buci-Glucksman, a baroque episteme is characterized in terms of the suspension of reason or reality through various representational ambiguities, highlighting the tension between being and appearing (etre et paraitre). Concluding with an invocation of Guy Debord's La Societe du spectacle, the above outlined perspective contributes to an understanding of contemporary representational practices in order to elucidate a sublime baroque madness that results from the suspension of certainties. Keywords: Sublime, Baroque, Spectacle, Madness, Reason
