Guy Debord fue un teórico marxista francés cuya obra exploró la decadencia espiritual de la vida moderna impulsada por fuerzas económicas. Conceptualizó el 'espectáculo' como relaciones sociales mediadas por imágenes, que según él conducen a la alienación. Esta alienación, postuló Debord, no es meramente un estado psicológico sino una consecuencia de la organización social que alcanza su apogeo en el capitalismo. Sus escritos profundizan en cómo la influencia generalizada de las imágenes y la cultura de consumo erosionan la conexión humana genuina.
Como Marx, pero francés y como un pequeño libro de bolsillo. Las ganancias de este libro recogidas por el autor van a la ayuda mutua a través del centro de ayuda mutua para que los capitalistas más codiciosos no se beneficien del libro, aunque lo harán a pesar de que el capitalismo está abolido.
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.
This official English translation presents a seminal work by the French Situationists, highlighting the influential ideas of Guy Debord. The text delves into the critique of contemporary society, exploring themes such as spectacle, alienation, and the commodification of everyday life. It offers a unique perspective on modernity and challenges conventional thought, making it an essential read for those interested in philosophy and social theory.
Letters by writer, filmmaker, and cultural revolutionary Guy Debord conjure a vivid picture of the dynamic first years of the Situationist International movement.
The Das Kapital of the 20th century. An essential text, and the main theoretical work of the situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This new edition is the Ken Knabb translation. Certainly it has the most "modern" design of all three editions, as well as a short new introduction from the translator.
Guy Debord’s silver-tongue-in-cheek autobiography mixes precision and pastiche in a whirlwind account of philosophy, exploit, and inebriation. From the stark professions of Volume I to the illustrated sequences of Volume 2, Panegyric confronts us with a figure who strategically, demonically tried to wrest life from the disabling modern ‘spectacle.’
"Ces Commentaires pourront servir à écrire un jour l'histoire du spectacle ; sans doute le plus important événement qui se soit produit dans ce siècle ; et aussi celui que l'on s'est le moins aventuré à expliquer. En des circonstances différentes, je crois que j'aurais pu me considérer comme grandement satisfait de mon premier travail sur ce sujet, et laisser à d'autres le soin de regarder la suite. Mais, dans le moment où nous sommes, il m'a semblé que personne d'autre ne le ferait".
Ces commentaires pourront servir à écrire un jour l'histoire du spectacle ; sans doute le plus important événement qui se soit produit dans ce siècle, et aussi celui que l'on s'est le moins aventuré à expliquer. En des circonstances différentes, je crois que j'aurais pu me considérer comme grandement satisfait de mon premier travail sur ce sujet, et laisser à d'autres le soin de regarder la suite. Mais, dans le moment où nous sommes, il m'a semblé que personne d'autre ne le ferait.
