Debord

Moreover, within anarchist circles there has been a longstanding interest in the work of situationists such as Debord and Autonomists such as Negri, which is not to suggest that these thinkers be identified as anarchist, but that their analyses of power and desire, and an ideal of equality, reflect certain anarchist commitments.

Jacob T. Levy 2008

Paccar Room, Royal Shakespeare Theatre, to 1 AprSSAn attempt at infecting Sheffield with a plague of irrepressible free creativity, and taking place in venues from Bank Street Arts through to the Riverside pub, Pandemic! takes its libertarian cue from Guy Debord's legendary, Parisian, 1960s neo-Marxist group the Situationist International.

This week's new exhibitions 2011

Debord writes that situations begin "beyond the ruins of the modern spectacle," with the spectacle defined by Debord as the array of capitalist entertainments and promotions keeping people alienated from the natural world.

G. Roger Denson: Political Art Timeline, 1945-1966: Postwar Art of the Left G. Roger Denson 2011

Called the "Report on the Construction of Situations," Debord borrows heavily from Jean-Paul Sartre, Georg Lukács and Bertolt Brecht, yet his pronouncements still have considerable resonance today, particularly among European artists.

G. Roger Denson: Political Art Timeline, 1945-1966: Postwar Art of the Left G. Roger Denson 2011

Debord writes at the beginning of the television age that the "abundance of televised imbecilities is probably one of the reasons for the American working class's inability to develop any political consciousness."

G. Roger Denson: Political Art Timeline, 1945-1966: Postwar Art of the Left G. Roger Denson 2011

Guy Debord, excerpts from The Society of the Spectacle (Bb)

‘Watching Television’ Syllabus 1.0 « Gerry Canavan 2010

Interesting article, but hugely biased right form the start when you admit that you assigned Debord BEFORE you could even possibly know what the finale would be like.

How ‘Lost’ Teaches Us to Grieve It « Gerry Canavan 2010

What sets Debord's manifesto apart from other Leftist tracts of its day is his recognition of "the continual and rapid increase of leisure time resulting from the level of productive forces our era has attained."

G. Roger Denson: Political Art Timeline, 1945-1966: Postwar Art of the Left G. Roger Denson 2011

Interesting article, but hugely biased right form the start when you admit that you assigned Debord BEFORE you could even possibly know what the finale would be like.

How ‘Lost’ Teaches Us to Grieve It « Gerry Canavan 2010

In 1957, when Guy Debord writes that the "abundance of televised imbecilities is probably one of the reasons for the American working class's inability to develop any political consciousness," he hadn't yet realized that those imbecilities--or at least their signage--were about to be taken up as the fodder of Pop Art.

G. Roger Denson: Political Art Timeline, 1945-1966: Postwar Art of the Left G. Roger Denson 2011