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Guy Debord

Guy Debord
Within the specialized thought of the spectacular system, a new division of tasks takes place to the extent that the improvement of this system itself poses new problems: on one hand, modern sociology which studies separation by means of the conceptual and material instruments of separation itself, undertakes the spectacular critique of the spectacle; on the other hand, in the various disciplines where structuralism takes root, the apology for the spectacle institutes itself as the thought of non-thought, as the official amnesia of historical practice. Nevertheless, the false despair of non-dialectical critique and the false optimism of pure advertising of the system are identical in that they are both submissive thought.
The system’s thought, the thought of the social organization of appearance, is itself obscured by the generalized sub-communication which it defends. It does not know that conflict is at the origin of all things in its world. Specialists in the power of the spectacle, an absolute power within its system of language without response, are absolutely corrupted by their experience of contempt and of the success of contempt; and they find their contempt confirmed by their knowledge of the contemptible man, who the spectator really is.
When culture becomes nothing more than a commodity, it must also become the star commodity of the spectacular society. Clark Kerr, one of the foremost ideologues of this tendency, has calculated that the complex process of production, distribution and consumption of knowledge already gets 29% of the yearly national product in the United States; and he predicts that in the second half of this century culture will be the driving force in the development of the economy, a role played by the automobile in the first half of this century, and by railroads in the second half of the previous century.
Tourism, human circulation considered as consumption, a by-product of the circulation of commodities, is fundamentally nothing more than the leisure of going to see what has become banal. The economic organization of visits to different places is already in itself the guarantee of their equivalence. The same modernization that removed time from the voyage also removed from it the reality of space.
The capitalist need which is satisfied by urbanism in the form of a visible freezing of life can be expressed in Hegelian terms as the absolute predominance of “the peaceful coexistence of space” over “the restless becoming in the passage of time.”
If all the technical forces of capitalism must be understood as tools for the making of separations, in the case of urbanism we are dealing with the equipment at the basis of these technical forces, with the treatment of the ground that suits their deployment, with the very technique of separation.
Urbanism is the modern fulfillment of the uninterrupted task which safeguards class power: the preservation of the atomization of workers who had been dangerously brought together by urban conditions of production. The constant struggle that had to be waged against every possible form of their coming together discovers its favored field in urbanism. After the experiences of the French Revolution, the efforts of all established powers to increase the means of maintaining order in the streets finally culminates in the suppression of the street. “With the present means of long-distance mass communication, sprawling isolation has proved an even more effective method of keeping a population under control,” says Lewis Mumford in The City in History, describing “henceforth a one-way world.” But the general movement of isolation, which is the reality of urbanism, must also include a controlled reintegration of workers depending on the needs of production and consumption that can be planned. Integration into the system requires that isolated individuals be recaptured and isolated together: factories and halls of culture, tourist resorts and housing developments are expressly organized to serve this pseudo-community that follows the isolated individual right into the family cell. The widespread use of receivers of the spectacular message enables the individual to fill his isolation with the dominant images–images which derive their power precisely from this isolation.
For the first time a new architecture, which in all previous epochs had been reserved for the satisfaction of the ruling classes, is directly aimed at the poor. The formal poverty and the gigantic spread of this new living experience both come from its mass character, which is implicit in its purpose and in modern conditions of construction. Authoritarian decision, which abstractly organizes territory into territory of abstraction, is obviously at the heart of these modern conditions of construction. The same architecture appears in all industrializing countries that are backward in this respect, as a suitable terrain for the new type of social existence which is to be implanted there. The threshold crossed by the growth of society’s material power alongside the lag in the conscious domination of this power, are displayed as clearly by urbanism as by problems of thermonuclear armament or of birth control (where the possibility of manipulating heredity has already been reached).
The present is already the time of the self-destruction of the urban milieu. The explosion of cities which cover the countryside with “formless masses of urban residues” (Lewis Mumford) is directly regulated by the imperatives of consumption. The dictatorship of the automobile, pilot-product of the first phase of commodity abundance, has been stamped into the environment with the domination of the freeway, which dislocates old urban centers and requires an ever-larger dispersion. At the same time, stages of incomplete reorganization of the urban fabric polarize temporarily around “distribution factories,” enormous shopping centers built on the bare ground of parking lots; and these temples of frenzied consumption, after bringing about a partial rearrangement of congestion, themselves flee within the centrifugal movement which rejects them as soon as they in turn become overburdened secondary centers. But the technical organization of consumption is only the first element of the general dissolution which has led the city to the point of consuming itself.
Economic history, which developed entirely around the opposition between town and country, has reached a level of success which simultaneously cancels out both terms. The current paralysis of total historical development for the sake of the mere continuation of the economy’s independent movement makes the moment when town and country begin to disappear, not the supersession of their cleavage, but their simultaneous collapse. The reciprocal erosion of town and country, product of the failure of the historical movement through which existing urban reality should have been surmounted, is visible in the eclectic melange of their decayed elements which cover the most industrially advanced zones.
Universal history was born in cities and reached maturity at the moment of the decisive victory of city over country. To Marx, one of the greatest revolutionary merits of the bourgeoisie was “the subjection of the country to the city” whose very air emancipates. But if the history of the city is the history of freedom, it is also the history of tyranny, of state administration that controls the countryside and the city itself. The city could as yet only struggle for historical freedom, but not possess it. The city is the locus of history because it is conscious of the past and also concentrates the social power that makes the historical undertaking possible. The present tendency to liquidate the city is thus merely another expression of the delay in the subordination of the economy to historical consciousness and in the unification of society reassuming the powers that were detached from it.
“The countryside shows the exact opposite: isolation and separation” (German Ideology). Urbanism destroys cities and reestablishes a pseudo-countryside which lacks the natural relations of the old countryside as well as the direct social relations which were directly challenged by the historical city. A new artificial peasantry is recreated by the conditions of housing and spectacular control in today’s “organized territory”: the geographic dispersal and narrowmindedness that always kept the peasantry from undertaking independent action and from affirming itself as a creative historical force again today become characteristics of the producers–the movement of a world which they themselves produce remaining as completely beyond their reach as the natural rhythm of tasks was for the agrarian society. But when this peasantry, which was the unshakable foundation of “Oriental despotism” and whose very fragmentation called for bureaucratic centralization reemerges as a product of the conditions of growth of modern state bureaucracy, its apathy must now be historically manufactured and maintained; natural ignorance has been replaced by the organized spectacle of error. The “new towns” of the technological pseudo-peasantry clearly inscribe on the landscape their rupture with the historical time on which they are built; their motto could be: “On this spot nothing will ever happen, and nothing ever has.” It is obviously because history, which must be liberated in the cities, has not yet been liberated, that the forces of historical absence begin to compose their own exclusive landscape.
History, which threatens this twilight world, is also the force which could subject space to lived time. Proletarian revolution is the critique of human geography through which individuals and communities have to create places and events suitable for the appropriation, no longer just of their labor, but of their total history. In this game’s changing space, and in the freely chosen variations in the game’s rules, the autonomy of place can be rediscovered without the reintroduction of an exclusive attachment to the land, thus bringing back the reality of the voyage and of life understood as a voyage which contains its entire meaning within itself.
The greatest revolutionary idea concerning urbanism is not itself urbanistic, technological or esthetic. It is the decision to reconstruct the entire environment in accordance with the needs of the power of the Workers’ Councils, of the anti-statist dictatorship of the proletariat, of enforceable dialogue. And the power of the Councils which can be effective only if it transforms existing conditions in their entirety, cannot assign itself a smaller task if it wants to be recognized and to recognize itself in its world.
In the historical society divided into classes, culture is the general sphere of knowledge and of representations of the lived; which is to say that culture is the power of generalization existing apart, as division of intellectual labor and as intellectual labor of division. Culture detaches itself from the unity of the society of myth “when the power of unification disappears from the life of man and when opposites lose their living relation and interaction and acquire autonomy... (Hegel’s Treatise on the Differences between the Systems of Fichte and Schelling). By gaining its independence, culture begins an imperialist movement of enrichment which is at the same time the decline of its independence. The history which creates the relative autonomy of culture and the ideological illusions about this autonomy also expresses itself as history of culture. And the entire victorious history of culture can be understood as the history of the revelation of its inadequacy, as a march toward its self-suppression. Culture is the locus of the search for lost unity. In this search for unity, culture as a separate sphere is obliged to negate itself.
Dadaism and surrealism are the two currents which mark the end of modern art. They are contemporaries, though only in a relatively conscious manner, of the last great assault of the revolutionary proletarian movement; and the defeat of this movement, which left them imprisoned in the same artistic field whose decrepitude they had announced, is the basic reason for their immobilization. Dadaism and surrealism are at once historically related and opposed to each other. This opposition, which each of them considered to be its most important and radical contribution, reveals the internal inadequacy of their critique, which each developed one-sidedly. Dadaism wanted to suppress art without realizing it; surrealism wanted to realize art without suppressing it. The critical position later elaborated by the Situationists has shown that the suppression and the realization of art are inseparable aspects of a single supersession of art.
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.
The historical time which invades art expressed itself first of all in the sphere of art itself, starting with the baroque. Baroque is the art of a world which has lost its center: the last mythical order, in the cosmos and in terrestrial government, accepted by the Middle Ages–the unity of Christianity and the phantom of an Empire has fallen. The art of the change must carry within itself the ephemeral principle it discovers in the world. It chose, said Eugenio d’Ors, “life against eternity.” Theater and the festival, the theatrical festival, are the outstanding achievements of the baroque where every specific artistic expression becomes meaningful only with reference to the setting of a constructed place, a construction which is its own center of unification; this center is the passage, which is inscribed as a threatened equilibrium in the dynamic disorder of everything. The somewhat excessive importance given to the concept of the baroque in the contemporary discussion of esthetics is an expression of the awareness that artistic classicism is impossible: for three centuries the attempts to realize a normative classicism or neoclassicism were no more than brief artificial constructions speaking the external language of the State, the absolute monarchy, or the revolutionary bourgeoisie in Roman clothes. What followed the general path of the baroque, from romanticism to cubism, was ultimately an ever more individualized art of negation perpetually renewing itself to the point of the fragmentation and complete negation of the artistic sphere. The disappearance of historical art, which was linked to the internal communication of an elite and had its semi-independent social basis in the partly playful conditions still lived by the last aristocracies, also expresses the fact that capitalism possesses the first class power which admits itself stripped of any ontological quality, a power which, rooted in the simple management of the economy, is equally the loss of all human mastery. The baroque, artistic creation’s long-lost unity, is in some way rediscovered in the current consumption of the totality of past art. When all past art is recognized and sought historically and retrospectively constituted into a world art, it is relativized into a global disorder which in turn constitutes a baroque edifice on a higher level, an edifice in which the very production of baroque art merges with all its revivals. The arts of all civilizations and all epochs can be known and accepted together for the first time. Once this “collection of souvenirs” of art history becomes possible, it is also the end of the world of art. In this age of museums, when artistic communication can no longer exist, all the former moments of art can be admitted equally, because they no longer suffer from the loss of their specific conditions of communication in the current general loss of the conditions of communication.
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.
The growth of knowledge about society, which includes the understanding of history as the heart of culture, derives from itself an irreversible knowledge, which is expressed by the destruction of God. But this “first condition of any critique” is also the first obligation of a critique without end. When it is no longer possible to maintain a single rule of conduct, every result of culture forces culture to advance toward its dissolution. Like philosophy at the moment when it gained its full autonomy, every discipline which becomes autonomous has to collapse, first of all as a pretention to explain social totality coherently, and finally even as a fragmented tool which can be used within its own boundaries. The lack of rationality of separate culture is the element which condemns it to disappear, because within it the victory of the rational is already present as a requirement.