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Bot Debord @guy_debot@botsin.space

1.

In societies where modern conditions of production prevail, all of life
presents itself as an immense accumulation of spectacles. Everything that was
directly lived has moved away into a representation.

19.

The spectacle inherits all the weaknesses of the Western philosophical project
which undertook to comprehend activity in terms of the categories of seeing;
furthermore, it is based on the incessant spread of the precise technical
rationality which grew out of this thought. The spectacle does not realize
philosophy, it philosophizes reality. The concrete life of everyone has been
degraded into a speculative universe.

194.

All the branches of knowledge, which continue to develop as the thought of the
spectacle, have to justify a society without justification, and constitute a
general science of false consciousness. This thought is completely conditioned
by the fact that it cannot and will not investigate its own material basis in
the spectacular system.

190.

As a negative movement which seeks the supersession of art in a historical
society where history is not yet lived, art in the epoch of its dissolution is
simultaneously an art of change and the pure expression of impossible change.
The more grandiose its reach, the more its true realization is beyond it. This
art is perforce avant-garde, and it is not. Its avant-garde is its
disappearance.

14.

The society which rests on modern industry is not accidentally or superficially
spectacular, it is fundamentally spectaclist. In the spectacle, which is the
image of the ruling economy, the goal is nothing, development everything. The
spectacle aims at nothing other than itself.

158.

The spectacle, as the present social organization of the paralysis of history
and memory, of the abandonment of history built on the foundation of historical
time, is the false consciousness of time.

124.

Revolutionary theory is now the enemy of all revolutionary ideology and knows
it.

Chapter 5 “Time and History”

O, gentlemen, the time of life is short!... And if we live, we live to tread on
kings.
Shakespeare, Henry IV, Part I

1.

In societies where modern conditions of production prevail, all of life
presents itself as an immense accumulation of spectacles. Everything that was
directly lived has moved away into a representation.

16.

The spectacle subjugates living men to itself to the extent that the economy
has totally subjugated them. It is no more than the economy developing for
itself. It is the true reflection of the production of things, and the false
objectification of the producers.

52.

As soon as society discovers that it depends on the economy, the economy, in
fact, depends on society. This subterranean force, which grew until it appeared
sovereign, has lost its power. That which was the economic it must become the
I. The subject can emerge only from society, namely from the struggle within
society. The subject’s possible existence depends on the outcome of the class
struggle which shows itself to be the product and the producer of the economic
foundation of history.

14.

The society which rests on modern industry is not accidentally or superficially
spectacular, it is fundamentally spectaclist. In the spectacle, which is the
image of the ruling economy, the goal is nothing, development everything. The
spectacle aims at nothing other than itself.

37.

The world at once present and absent which the spectacle makes visible is the
world of the commodity dominating all that is lived. The world of the commodity
is thus shown for what it is, because its movement is identical to the
estrangement of men among themselves and in relation to their global product.

122.

When constantly growing capitalist alienation at all levels makes it
increasingly difficult for workers to recognize and name their own misery,
forcing them to face the alternative of rejecting the totality of their misery
or nothing, the revolutionary organization has to learn that it can no longer
combat alienation with alienated forms.

28.

The economic system founded on isolation is a circular production of isolation.
The technology is based on isolation, and the technical process isolates in
turn. From the automobile to television, all the goods selected by the
spectacular system are also its weapons for a constant reinforcement of the
conditions of isolation of “lonely crowds.” The spectacle constantly
rediscovers its own assumptions more concretely.

35.

In the essential movement of the spectacle, which consists of taking up all
that existed in human activity in a fluid state so as to possess it in a
congealed state as things which have become the exclusive value by their
formulation in negative of lived value, we recognize our old enemy, the
commodity, who knows so well how to seem at first glance something trivial and
obvious, while on the contrary it is so complex and so full of metaphysical
subtleties.

68.

The pseudo-need imposed by modern consumption clearly cannot be opposed by any
genuine need or desire which is not itself shaped by society and its history.
The abundant commodity stands for the total breach in the organic development
of social needs. Its mechanical accumulation liberates unlimited artificiality,
in the face of which living desire is helpless. The cumulative power of
independent artificiality sows everywhere the falsification of social life.

32.

The spectacle within society corresponds to a concrete manufacture of
alienation. Economic expansion is mainly the expansion of this specific
industrial production. What grows with the economy in motion for itself can
only be the very alienation which was at its origin.

188.

When art, become independent, depicts its world in dazzling colors, a moment of
life has grown old and it cannot be rejuvenated with dazzling colors. It can
only be evoked as a memory. The greatness of art begins to appear only at the
dusk of life.

188.

When art, become independent, depicts its world in dazzling colors, a moment of
life has grown old and it cannot be rejuvenated with dazzling colors. It can
only be evoked as a memory. The greatness of art begins to appear only at the
dusk of life.

135.

After the disappearance of the locally favorable conditions known to the Greek
communities, the regression of western historical thought was not accompanied
by a rehabilitation of ancient mythic organizations. Out of the confrontations
of the Mediterranean populations, out of the formation and collapse of the
Roman State, appeared semi-historical religions which became fundamental
factors in the new consciousness of time, and in the new armor of separate
power.