Real Split in the International - Debord, Guy; Situationist International
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The book sees Debord not only evaluate the movement as a whole, but also signal the end of it. For him, it had become clear that the Situationist's success had produced - within its own ranks as well as outside them - a host of fans and "onlookers" who amounted to little more than consumers of a radicality that had become fashionable. In this way the movement had begun to encompass the very "society of the spectacle" that the Situationists had challenged. There was a danger that Situationist theory could turn into ideology - Debord's reaction was to break up the movement.
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Produktbeschreibung
The book sees Debord not only evaluate the movement as a whole, but also signal the end of it. For him, it had become clear that the Situationist's success had produced - within its own ranks as well as outside them - a host of fans and "onlookers" who amounted to little more than consumers of a radicality that had become fashionable. In this way the movement had begun to encompass the very "society of the spectacle" that the Situationists had challenged. There was a danger that Situationist theory could turn into ideology - Debord's reaction was to break up the movement.
First official English translation of cult philosophy title by French Situationists featuring Guy Debord.
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Autorenporträt
John McHale has translated Alice Becker-Ho's Les Princes du Jargon, her L'Essence du Jargon and Guy Debord's Panegyrique Volume 2. He lives in London.Guy Debord was a revolutionary theorist, a film-maker, the indisputable head of the Situationists, and a key figure in the constellation of French theorists and intellectuals from the 1960s onwards. He committed suicide in 1995 at the age of 63. Identifying everyday life as the terrain of revolutionary activity, he added new and apposite dimensions to Marxist thinking in the late twentieth century: The Society of the Spectacle, his seminal work, characterised a society resting not only on the alienated labour of workers, but on the alienated lives of spectators.