Poetry of the Spectacle

Here the SPECTACLE is captured and made to expose itself (if even for a brief moment) by turning its most beloved mystifying commodity, the computer, back onto itself to the benefit of language. It slowly dies a dramatic death of Lettristic convulsions.


SPECTACLE

In societies where modern conditions of production prevail, life is presented as an immense accumulation of spectacles. Everything that was directly lived is now merely represented in the distance.

The spectacle is not a collection of images; it is a social relation between people that is mediated by images. The spectacle is capital accumulated to the point that it becomes images.

The spectacle cannot be understood as a mere visual deception produced by mass-media technologies. It is a worldview that has actually been materialized.

Understood in its totality, the spectacle is both the result and the goal of the dominant mode of production. It is not a mere decoration added to the real world. It is the very heart of this real society's unreality. In all its particular manifestations - news, propaganda, advertising, entertainment - the spectacle represents the dominant model of life. It is the omnipresent affirmation of the choices that have already been made in the sphere of production and in the consumption implied by that production. In both form and content the spectacle serves as a total justification of the conditions and goals of the existing system. The spectacle also represents the constant presence of this justification since it monopolizes the majority of the time spent outside the production process.

The spectacle is both the meaning and the agenda of our particular socio-economic formation. It is the historical moment in which we are caught.

The spectacle presents itself as a vast inaccessible reality that can never be questioned. Its sole message is: "What appears is good, what is good appears." The passive acceptance it demands is already effectively imposed by its monopoly of appearances, its manner of appearing without allowing any reply.

The first stage of the economy's domination of social life brought about an evident degradation of being into having - human fulfillment was no longer equated with what one was, but with what one possessed. The present stage, in which social life has become completely dominated by the accumulated productions of the economy, is bringing about a general shift from having to appearing - all "having" must now derive its immediate prestige and its ultimate purpose from appearances.


POETRY

The problem of language is at the heart of all the struggles between the forces striving to abolish the present alienation and those striving to maintain it. It is inseparable from the very terrain of those struggles. We live within language as within polluted air. Despite what humorists think, words do not play. Words work - on behalf of the dominant organization of life. Yet they are not completely automated: unfortunately for the theoreticians of information, words are not in themselves "informationist"; they contain forces that can upset the most careful calculations. Words coexist with power in a relation analogous to that which proletarians have with power. Employed by it almost full time, exploited for every sense and nonsense that can be squeezed out of them, they still remain in some sense fundamentally alien to it.

Under the control of power, language always designates something other than authentic experience. It is precisely for this reason that a total contestation is possible. The organization of language has fallen into such confusion that the communication imposed by power is exposing itself as an imposture and a dupery. An embryonic cybernetic power is vainly trying to put language under the control of the machines it controls, in such a way that information would henceforth be the only possible communication. Even on this terrain resistances are being manifested; electronic music could be seen as an attempt (obviously limited and ambiguous) to reverse the domination by detourning machines to the benefit of language. But there is a much more general and radical opposition that is denouncing all unilateral "communication," in the old form of art as well as in the modern form of informationism. It calls for a communication that undermines all separate power. Real communication dissolves the state.

Power lives off stolen goods. It creates nothing, it coopts. If it determined the meaning of words, there would be no poetry but only useful "information." Opposition would be unable to express itself in language; any refusal would be nonverbal, purely lettristic. What is poetry if not the revolutionary moment of language, inseparable as such from the revolutionary moments of history and from the history of personal life?

Category:

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• Anarchy
• Debord
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[OttOmOlOtOv]

Exactly!

[isidormarcel]

You have even to pay to allow you to die

[OttOmOlOtOv]

True...and even sadder!

[electricrussell]

Did Radiohead get this idea from you? or the other way round?

[OttOmOlOtOv]

I don't know what you are refering to. So maybe Radiohead got it from me. But more likely, the two things are independent and possibly mutually influenced by similar things.

[HeltekMedia]

@samscydia yep

[samscydia]

@electricrussell

Radiohead most likely got it from Guy Debord.

[avisualfeel]

...I just want to pay...to exist!!!

[liquidrunning]

It's getting harder to live.

[Milicroque]

Tuve que reforzar el cerco, aumentar la vigilancia, elevar, en una palabra, mi presupuesto de guerra. El vecino dispone de un perro decidido a todo; yo pienso adquirir un revólver.

¿Dónde está mi vieja tranquilidad? Estoy envenenado por la desconfianza y por el odio. El espíritu del mal se ha apoderado de mí.

Antes era un hombre. Ahora soy un propietario...

R. Barrett

[Milicroque]

Sus pollos pasaban el cerco, y devoraban el maíz mojado que consagraba a los míos. Los pollos ajenos me parecieron criminales. Los perseguí, y cegado por la rabia maté uno. El vecino atribuyó una importancia enorme al atentado. No quiso aceptar una indemnización pecuniaria. Retiró gravemente el cadáver de su pollo, y en lugar de comérselo, se lo mostró a sus amigos, con lo cual empezó a circular por el pueblo la leyenda de mi brutalidad imperialista.

[Milicroque]

Mi gallo era demasiado joven. El gallo del vecino saltó el cerco y se puso a hacer la corte a mis gallinas y a amargar la existencia de mi gallo. Despedí a pedradas el intruso, pero saltaban el cerco y aovaron en casa del vecino. Reclamé los huevos y mi vecino me aborreció. Desde entonces vi su cara sobre el cerco, su mirada inquisidora y hostil, idéntica a la mía.

[Milicroque]

Dividí la humanidad en dos categorías; yo, dueño de mis gallinas, y los demás que podían quitármelas. Definí el delito. El mundo se llena para mí de presuntos ladrones, y por primera vez lancé del otro lado del cerco una mirada hostil.

[Milicroque]

La propiedad me ha hecho cruel. Siempre que compraba una gallina la ataba dos días a un árbol, para imponerle mi

domicilio, destruyendo en su memoria frágil el amor a su antigua residencia. Remendé el cerco de mi patio, con el fin de evitar la evasión de mis aves, y la invasión de zorros de cuatro y dos pies. Me aislé, fortifiqué la frontera, tracé una línea diabólica entre mi prójimo y yo.