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| situationist international guy debord: Correspondence Guy Debord, 2009 This volume traces the dynamic first years of the Situationist International movement - a cultural avant-garde that continues to inspire new generations of artists, theorists, and writers more than half a century later. Debord's letters - published here for the first time in English - provide a fascinating insider's view of just how this seemingly disorganized group drifting around a newly consumerized Paris became one of the most defining cultural movements of the twentieth century. Circumstances, personalities, and ambitions all come into play as the group develops its strategy of anarchic, conceptual, but highly political intervention. |
| situationist international guy debord: Guy Debord, the Situationist International, and the Revolutionary Spirit James Trier, 2019-07-15 Winner of the 2020 Choice Outstanding Academic Title Award Guy Debord, the Situationist International, and the Revolutionary Spirit presents a history of the two avant-garde groups that French filmmaker and subversive strategist Guy Debord founded and led: the Lettrist International (1952–1957) and the Situationist International (1957–1972). Debord is popularly known for his classic book The Society of the Spectacle (1967), but his masterwork is the Situationist International (SI), which he fashioned into an international revolutionary avant-garde group that orchestrated student protests at the University of Strasbourg in 1966, contributed to student unrest at the University of Nanterre in 1967–1968, and played an important role in the occupations movement that brought French society to a standstill in May of 1968. The book begins with a brief history of the Lettrist International that explores the group’s conceptualization and practice of the critical anti-art practice of détournement, as well as the subversive spatial practices of the dérive, psychogeography, and unitary urbanism. These practices, which became central to the Situationist International, anticipated many contemporary cultural practices, including culture jamming, critical media literacy, and critical public pedagogy. This book follows up the edited book Détournement as Pedagogical Praxis (Sense Publishers, 2014), and together they offer readers, particularly those in the field of Education, an introduction to the history, concepts, and critical practices of a group whose revolutionary spirit permeates contemporary culture, as can be seen in the political actions of Pussy Riot in Russia, the “yellow vest” protesters in France, the #BlackLivesMatter movement, and the striking teachers and student protesters on campuses throughout the U.S. See inside the book. |
| situationist international guy debord: Situationist International Anthology , 2024-10-08 The Situationist International Anthology is the most comprehensive and accurately translated collection of situationist writings in English. In 1957 a few European avant-garde groups came together to form the Situationist International. Picking up where the dadaists and surrealists had left off, the situationists challenged people’s passive conditioning with carefully calculated scandals and the playful tactic of détournement (“rerouting, hijacking”). Seeking a more extreme social revolution than was dreamed of by most leftists, they developed an incisive critique of the global spectacle-commodity system and of its “Communist” pseudo-opposition, and their new methods of agitation helped trigger the May 1968 revolt in France. Since then situationist theories and tactics have continued to inspire radical currents all over the world. This volume presents a rich variety of articles, leaflets, graffiti, and internal documents, ranging from experiments in “psychogeography” to lucid analyses of the Watts riot, the Vietnam War, the Prague Spring, the Chinese Cultural Revolution, and other crises and upheavals of the sixties. For this new edition all the translations have been fine-tuned and the bibliography has been updated to include comments on dozens of newer books by and about the situationists. |
| situationist international guy debord: The Society of the Spectacle Guy Debord, 2016 The Society of the Spectacle is many things. It is a critique of capitalism and mass-market culture, the underpinnings of the Situationist movement and one of the most important philosophical treatises of the 20th Century. The spectacle is the subversion of social relationships with the appearance of those interactions through media and commodities. Society has been subverted by the Spectacle through the decline of being into having, and having into merely appearing. The Society of the Spectacle is an important philosophical treatise on the alienation of modern society, forming the underpinnings of a postmodern culture that is supplanted with images of what once was real. |
| situationist international guy debord: Guy Debord and the Situationist International Tom McDonough, 2002 Critical texts, translations, documents, and photographs on the work of the Situationist International. |
| situationist international guy debord: Guy Debord and the Situationist International Tom McDonough, 2004-02-27 Critical texts, translations, documents, and photographs on the work of the Situationist International. This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI's profound engagement with the art and cultural politics of their time (1957-1972), with a strong argument for their primarily political and activist stance by two former members of the group, T. J. Clark and Donald Nicholson-Smith. Guy Debord and the Situationist International supplements both sections. It reprints important, hard to find essays by Giorgio Agamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles the number of translations of primary texts, which now encompass a broader and more representative range of the SI's writings on culture and language. In a field still dominated by hagiography, the critical texts were selected for their willingness to confront critically the history and legacy of the SI. They examine the group within the broader framework of the historical and neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI's reflections on the legacy of the avant-garde in art and architecture, particularly on the linguistic and spatial significance of montage aesthetics. Many of the translated works are by Guy Debord (1932-1994), the impresario of the SI, especially known for his book The Society of the Spectacle. |
| situationist international guy debord: The Society of the Spectacle Guy Debord, 2022-05-29 The Society of the Spectacle is a work of philosophy by Guy Debord. In it the author expands on the concept of the Spectacle, coupled with presentations of Marxist critical theory. |
| situationist international guy debord: 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. |
| situationist international guy debord: Panegyric Guy Debord, 2004 Debord's audacious autobiography, here beautifully illustrated. |
| situationist international guy debord: The Situationists and the City Tom McDonough, 2010-01-12 The Situationist International (SI), led by the revolutionary Guy Debord, were active throughout the 1950s and 60s. They published the journal Internationale Situationniste that included many incendiary texts on politics and art, and were a galvanizing force in the revolutions of May 1968. The importance of their work has been felt particularly in their revolutionary analysis of cities. The SI were responsible for utopian imaginings of the city, where its alienating effects from its routine use as a site of consumption and work were banished and it was instead to be turned into a place of play. Tom McDonough collects all the SI’s key work in this area for an essential one-stop collection. Including such essential works as ‘The Theory of the Derive’, ‘Formulary for a New Urbanism’, and many previously untranslated texts, the book will also be strikingly illustrated by the images that were core to the Situationist project. |
| situationist international guy debord: The Situationist International Simon Ford, 2005 An accessible guide to the art, architecture and activist movement of the Situationist International. |
| situationist international guy debord: The Situationist International Alastair Hemmens, Gabriel Zacarias, 2020 Up-to-date collection on the Situationist International, rethinking their relevance for today |
| situationist international guy debord: 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. |
| situationist international guy debord: Life on Sirius Daniel Birnbaum, Kim West, 2016-05 How did art escape the deadlock of the Situationists? anti-art refusal? Did the relational artists, with their repetitions of Situationist slogans and techniques, outline a sustainable, micro-political alternative to Guy Debord?s dream of surpassing art and realizing philosophy? Looking back at some of the Situationists? confrontations with the museum, this book traces a path beyond the tragedy of negativity and the litany of recuperation. At the center is the concept of play; originally adopted as the principle of reconciled life, it returns as the lever of instrumentalization. But in the extraterrestial wasteland of the present, spaces of ludic coexistence and experimentation may remain possible, provided that pessimism can be adequately organized. |
| situationist international guy debord: 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! |
| situationist international guy debord: 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. |
| situationist international guy debord: Guy Debord and the Situationist International Guy Debord, 2002 |
| situationist international guy debord: 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. |
| situationist international guy debord: Guy Debord Anselm Jappe, 2018 This is the first and best intellectual biography of Guy Debord, prime mover of the Situationist International (1957-1972) and author of The Society of the Spectacle, perhaps the seminal book of the May 1968 uprising in France. Anselm Jappe offers a powerful corrective to the continual attempts to incorporate Debord's theoretical work into French theory. Jappe's focus, to the contrary, is on Debord's debt to the Hegelian-Marxist tradition, to Karl Korsch and Georg Lukács, and more generally to left-Marxist currents of council communism. His close reading of Debord's magnum opus supplies a superb gloss that has never been rivaled despite the great flood of writing on the Situationists in recent decades. At the same time, Debord is placed squarely in context among the Letterist and Situationist anti-artists who, in the aftermath of World War II, sought to criticize and transcend the legacy of Dada and Surrealism. Jappe's book offers a lively account of the Situationists' theory and practice as this last avant-garde made its way from radical bohemianism to revolutionary theory and action. Guy Debord has been translated into many languages. This PM Press reprint edition benefits from a new author's preface and a bibliographical update. |
| situationist international guy debord: 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. |
| situationist international guy debord: Detournement as Pedagogical Praxis James Trier, 2014-09-11 The Situationist International (SI) was a Paris-based artistic and political avant-garde group that formed in 1957, went through three distinct phases during its existence, and dissolved in 1972. In 1967, SI leader Guy Debord published his book The Society of the Spectacle, which presents his theory of how “the Spectacle” (i.e., the Capitalist system in its totality) works endlessly (though not always successfully) to transform people into spectators whose sole purposes are to consume commodities and to live de-politicized, passive, isolated, and contemplative lives. To challenge and subvert “the Spectacle,” Debord and his SI associates theorized and practiced the anti-spectacular critical art they called “detournement,” which entails reusing existing artistic and mass-produced elements to create new combinations or ensembles. As Debord wrote in 1956, detournement has the potential to be “a powerful cultural weapon in the service of real class struggle.” In this edited book, the authors contribute chapters about how they created their own detournements and used them as central audio-visual texts in critical projects that they designed and carried out in a variety of pedagogical situations. Most of the projects involved preservice teachers in teacher education courses, and the anti-spectacular purposes include challenging Hollywood’s problematic representations of Native Americans, subverting the racist stereotypes of Latin@s in a popular children’s book, and critiquing the neoliberal agenda of the charter school movement. This book offers readers detailed accounts of pedagogical projects that can serve as examples of the critical possibilities of detournement. |
| situationist international guy debord: Correspondence Guy Debord, 2009 This volume traces the dynamic first years of the Situationist International movement - a cultural avant-garde that continues to inspire new generations of artists, theorists, and writers more than half a century later. Debord's letters - published here for the first time in English - provide a fascinating insider's view of just how this seemingly disorganized group drifting around a newly consumerized Paris became one of the most defining cultural movements of the twentieth century. Circumstances, personalities, and ambitions all come into play as the group develops its strategy of anarchic, conceptual, but highly political intervention. |
| situationist international guy debord: Demanding the Impossible Peter Marshall, 2012-07-10 A fascinating and comprehensive history, 'Demanding the Impossible' is a challenging and thought-provoking exploration of anarchist ideas and actions from ancient times to the present day. |
| situationist international guy debord: Revolution of Everyday Life Raoul Vaneigem, 2012-10-05 Originally published just months before the May 1968 upheavals in France, Raoul Vaneigem’s The Revolution of Everyday Life offered a lyrical and aphoristic critique of the “society of the spectacle” from the point of view of individual experience. Whereas Debord’s masterful analysis of the new historical conditions that triggered the uprisings of the 1960s armed the revolutionaries of the time with theory, Vaneigem’s book described their feelings of desperation directly, and armed them with “formulations capable of firing point-blank on our enemies.” “I realise,” writes Vaneigem in his introduction, “that I have given subjective will an easy time in this book, but let no one reproach me for this without first considering the extent to which the objective conditions of the contemporary world advance the cause of subjectivity day after day.” Vaneigem names and defines the alienating features of everyday life in consumer society: survival rather than life, the call to sacrifice, the cultivation of false needs, the dictatorship of the commodity, subjection to social roles, and above all the replacement of God by the Economy. And in the second part of his book, “Reversal of Perspective,” he explores the countervailing impulses that, in true dialectical fashion, persist within the deepest alienation: creativity, spontaneity, poetry, and the path from isolation to communication and participation. For “To desire a different life is already that life in the making.” And “fulfillment is expressed in the singular but conjugated in the plural.” The present English translation was first published by Rebel Press of London in 1983. This new edition of The Revolution of Everyday Life has been reviewed and corrected by the translator and contains a new preface addressed to English-language readers by Raoul Vaneigem. The book is the first of several translations of works by Raoul Vaneigem that PM Press plans to publish in uniform volumes. Vaneigem’s classic work is to be followed by The Knight, the Lady, the Devil, and Death (2003) and The Inhumanity of Religion (2000). |
| situationist international guy debord: In Girum Imus Nocte Et Consumimur Igni Centraal Museum (Utrecht, Netherlands), 2006 A precursor to Arte Povera, Fluxus and Punk, the Situationist International has bequeathed a uniquely complex and conflicted legacy to contemporary art-making. Led by Guy Debord and Raoul Vaneigem, it initially favored the production of art objects; by 1962, collective debate on the role of art had caused the expulsion of its fine-artist members, including Asger Jorn, other members of Cobra and the entire Munich-based Gruppe SPUR. The revolution envisaged by the Situationist International demanded creativity in everyday life, the constructing of situations or the fashioning of a temporary micro-environment and series of events for a single moment in the life of several individuals. The Situationist International (1957-1972) (the catalogue for the eponymous exhibition at Centraal Museum, Utrecht, and Museum Tinguely, Basel) is the first publication to evaluate the creative contributions of the SI. It addresses three areas of Situationist practice: firstly, anonymous and communal artistic production (e.g Cobra, Asger Jorn's folk art research and the Bauhaus Imaginiste); secondly, détournement, variously translated as diversion or subversion, a key SI strategy in which extant works such as advertisements, comics, paintings or films are politically reconstituted by collage or other means; and thirdly, the practice of dérive--drift or purposeless wandering in an urban milieu--which generated the now widely known phenomenon of psychogeography and led to radical reassessments of architectural practice. The Situationist International includes new unpublished SI documents and essays by Giorgio Agamben, Hans Ulrich Obrist, Peter Sloterdijk and Philippe Sollers. |
| situationist international guy debord: The Book of Pleasures , 1836 |
| situationist international guy debord: The Real Split in the International Gianfranco Sanguinetti, Situationist International, 2003-08-20 First published in 1972 in Paris, The Real Split in the International is regarded as one of Guy Debord and the Situationists' finest works.Exploding as politically revolutionary at the heart of the Paris 1968 uprisings, the Situationist International has proved a tenaciously compelling radical movement in terms of asthetics and political theory.The Real Split in the International 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. |
| situationist international guy debord: Constructed Situations Frances Stracey, 2014-10-23 The Situationist International has been an inspiration for generations of revolutionary activists and artists. This is no less the case today, with new waves of anti-capitalist protest deploying political strategies of aesthetic disruption pioneered by the Situationists. But how are we to understand their influence rigourously? This book is an attempt to answer this question through investigating the idea from which the Situationists took their name: the constructed situation. Beginning with a deep philosophical genealogy, Stracey methodically examines the artist's development and realisations through a constellation of extraordinary case studies. Finally, on this basis, she considers the Situationist's legacy afresh. No book has attempted this before. The result is a radically new approach to the Situationist International. The outcome of many years of dedicated research, Constructed Situations consolidates Stracey's groundbreaking studies on the Situationist International and finally exposes their framework, which she was only able to formulate in the final years of her life. |
| situationist international guy debord: 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. |
| situationist international guy debord: Complete Cinematic Works Guy Debord, 2003 |
| situationist international guy debord: The Amateur Andy Merrifield, 2018-05-29 A radical manifesto about doing what you love Andy Merrifield offers a passionate tribute to the revolutionary spirit of the amateur—a figure who thinks outside the box, takes risks, dreams the impossible dream, seeks independence, and carves out a new world. Merrifield celebrates such square pegs as Charles Baudelaire, Fyodor Dostoevsky, Edward Said, Guy Debord, Hannah Arendt, and Jane Jacobs, each of whom shows us a path of unconventional wisdom and freedom. The Amateur advocates urgently for the liberated life, one that creates the space to question authority. |
| situationist international guy debord: Guy Debord Anselm Jappe, 1999-08-05 This is the first serious intellectual biography of Guy Debord, prime mover of the Situationist International (1957-1972) and author of The Society of the Spectacle, perhaps the seminal book of May 1968 in France. Anselm Jappe rejects recent attempts to set Debord up as a postmodern icon, arguing that he was a social theorist in the Hegelian-Marxist tradition—not a precursor of Jean Baudrillard but an heir of the young Georg Lukács of History and Class Consciousness (1923). Neither hagiographical nor sectarian, Guy Debord places its subject squarely in his historical context: the politicizing Letterist and Situationist anti-artists who, in the European aftermath of World War II, sought to criticize and transcend the Surrealist legacy. The book offers a lively, critical, and unusually reliable account of Debord's last avant-garde on its way from radical bohemianism to revolutionary theory. Jappe also discusses Debord's films, which are largely inaccessible at present. This English language edition of the book has been revised by the author and features an updated critical bibliography of Debord and the Situationists. |
| situationist international guy debord: On the Passage of a Few People Through a Rather Brief Moment in Time Peter Wollen, Mark Francis, Elisabeth Sussman, Thomas Y. Levin, Greil Marcus, 1991-05-01 These essays, original texts, photographs, comics, film stills, and color plates document the rich agit-art legacy of the Situationist International ... The Situationists' attempt to transform everyday life through paintings, films and manifestos, posters and pamphlets, acts and agitations, as well as the journal Internationale Situationiste, culminated in the 1968 student uprising in Paris and shifted the Situationist focus from aesthetic concerns to political instigation--Back cover. |
| situationist international guy debord: A Sick Planet Guy Debord, 2008 All my life I have seen only troubled times, extreme divisions in society, and immense destruction; I have taken part in these troubles. --Guy Debord Guy Debord is one of the 20th Century's most prophetic critics. His bestselling work, Society of the Spectacle, decisively transformed debates on the shape of modernity, capitalism, and everyday life. Since his suicide in 1994, the accuracy and pertinence of his writings on those troubled times is ever more apparent. A Sick Planet brings together three of his key essays. The Rise and Fall of the Spectacular Commodity-Economy is an analysis of the Watts riots in Los Angeles in the summer of 1965, when much of the city's black population fought thousands of police and National Guard for several days. The Explosion Point of Ideology in China examines and celebrates the decomposition of bureaucratic power and its ideology in China. A Sick Planet presents an extremely prescient polemic on global environmental degradation |
| situationist international guy debord: Artificial Hells Claire Bishop, 2012-07-24 This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling, and bolder forms of participatory art and criticism. |
| situationist international guy debord: Guy Debord Guy Debord, 2025-12-02 Guy Debord, founder of the Situationist International, fomenter of the May 1968 revolt in France, and author of The Society of the Spectacle, was also the creator of six tantalizingly inaccessible films. Technically and aesthetically, these films are among the most brilliantly innovative works in the history of the cinema. But they are not so much works of art as carefully calculated subversive provocations. Following the still-unsolved Mafia-style assassination of the films' financer and producer in 1984, all the films were withdrawn from circulation for nearly twenty years. One of the films is an adaptation of Debord's book The Society of the Spectacle. Others evoke his adventures in the bohemian underworld of 1950s Paris, which he contrasts with the increasingly ignorant, ugly, and alienated world that has since been produced by modern capitalism. In each case Debord simultaneously attacks the film medium itself, challenging spectators to create their own adventures instead of passively consuming the pseudo-adventures that are presented to them. Ken Knabb's meticulous translation of all the filmscripts (which Debord's widow Alice asked him to make to accompany the long-awaited rerelease of the films, beginning with a complete retrospective at the Venice Film Festival) is supplemented with numerous illustrations and documents and elucidated by extensive annotations. For this new edition Knabb has revised the translations, updated the filmography, and added the scathing video that Debord made shortly before his death: Guy Debord, His Art and His Time. |
| situationist international guy debord: Rethinking the Spectacle Devin Penner, 2019-06-15 Spectacle is usually considered a superficial form of politics, which tries to distract and deceive a passive audience. It is difficult to see how this type of politics could be reconciled with the democratic requirement of active and informed agency. Rethinking the Spectacle re-examines the tension between spectacle and political agency in our hyper-mediated digital society. Devin Penner uses the theories and practices of Guy Debord and the Situationist International as a point of departure, offering both a critical review of Situationist ideas and a way to develop their radical democratic potential in the current political climate. Emphasizing the importance of thinking about the connection between spectacle and broader democratic processes, Rethinking the Spectacle also looks at various models of social and political organization and includes an in-depth assessment of the 2011 Occupy movement. Ultimately, Rethinking the Spectacle concludes that properly conceived spectacle can in fact mobilize the public for egalitarian purposes. |
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Mattresses | Stearns & Foster
The Stearns & Foster® Lux Estate Collection provides an elevated level of comfort and support by combining our exclusive PrecisionMatch™ Memory Foam for enhanced pressure relief and …
