Guy debord society of the spectacle online dating
Debord spent his last years in the heart of rural France. But the real tragedy of his death is that, even as the spectacle was coming undone, Debord seems to have believed its own hype about its immortality.
Debord loved war games, and was a great strategist.
Similarly, Horkheimer, Adorno, Marcuse, Benjamin, and others associated with the Frankfurt school traced the gradual bureaucratization, rationalization, and commodification of social life.
They described how the "culture industry" defused critical consciousness, providing a key means of distraction and stupefaction, and they developed the first neo-Marxist theories of the media and consumer society (see Kellner 1989a).
Guy Debord was a maverick figure who avoided the academy and eschewed the public role expected of Parisian intellectuals, artists and revolutionaries.
Even his autobiographic writings offer little to those seeking clues to a life cluttered with t he rumour and intrigue which inevitably fills such vacuums.
The relation to the commodity is not only visible, but one no longer sees anything but it: the world one sees is its world.
Modern economic production extends its dictatorship extensively and intensively," Guy Debord (1967: #42).
With typical affected arrogance, Debord considered his critique of 20th-century capitalism to be brilliant. Drawing on Situationist interests in the avant-garde, architecture, urban planning, cinema, and Marxist theory, Debord defined the spectacle as the high-point of a process of alienation and commodification which turns people into spectators, even of their own lives.In his terms, the revolution had failed, and Comments of the Society of the Spectacle, published in his late 1980s, made the spectacle seem even more entrenched than it had been 20 years before.But there are enormous and unprecedented shifts afoot for the social order he defined so well.Situationist ideas are thus an important part of contemporary cultural theory and activism, and may continue to inspire cultural and political opposition as the "Society of the Spectacle" enters Cyberspace and new realms of culture and experience.
In this article, we will accordingly update Debord's ideas in forumulating what we see as the emergence of a new stage of the spectacle.We will first delineate Debord's now classic analysis, indicate how it still is relevant for analyzing contemporary society, and then offer Baudrillard's critique that the concept of spectacle has been superseded by a new regime of simulation in the advent of a new postmodern stage of history.