![]() ![]() Obviously, once Debord’s work passed outside this unique situation of control and rigorousness, once it reentered the classical circulation system of publishing (Gallimard is, after all, a very good posthumous publisher for Debord), the work loses something. This also had to do with why Champ libre chose not to publish a pocket edition, not to send review copies, to be a political and artistic act within the world of publishing. There was not just the work in itself, but also a very coherent affirmation concerning the way in which a text should be circulated, how the force or the veracity of that text are equally linked to the conditions in which it is published. For my part, I had the feeling - at the time when Debord’s work was being published by Champ libre - that it existed in a territory that was his own, in terms which were Debord’s, in fact it was a kind of meta-edition. I always have an impression that discussion of Debord is a way of withdrawing his work from specific time (which is a time that Debord has defined and drawn) in order to put it into the much more indistinct time of reflection, analysis, or commentary, a time that always risks being either academic, or else placed within a kind of literary history to which he never wanted to belong. But his philosophical work and his artistic work are always preoccupied with clarity, with precision, and with the link to the world as it presents itself to him at this moment. And this is, all the same, the essence of his artistic work, in the reductive sense of the term. Next - beyond that, or parallel to that - there is Debord’s poetry, his way of looking at the passage of time and at the vanity of things, that eternal truth to which he is profoundly connected. ![]() They have to do, of course, with something that has value in time, the global value of the analysis of the society in which one lives, but their strategic value is always - and this seems to me to be the very basis of Debord’s thought - linked to the instant itself. There is always this idea, in Debord, of saying things that have to do with the present time, that are instantly verifiable and relevant. I say that Debord’s work is difficult to discuss in the sense that it is entirely built on the instant. It seemed to me that I needed to say something at that very moment, and I felt I could say it in a way that was precise, clear, and very detailed. That’s why, for me, there was a sort of immediate necessity to write on him at the moment of his death. It’s very tricky to talk or write about Debord, in the sense that his is the work that lends itself least to analysis or commentary. The second was recorded by Brian Price and Meghan Sutherland, and published on in spring 2008. English translation by Chris Fujiwara, as found on. Reread, corrected, and completed in March 2002 for the catalog of the retrospective presented at Magic Cinéma in Bobigny. The first was recorded by Enrico Ghezzi and Roberto Turigliatto in June 2001, and published in Italian in the catalog of the Debord retrospective at the Venice Film Festival. A Swerve Edition, distributed for Zone Books.Two interviews. Also an artist and filmmaker, he is the author of Memoires and Commentaires sur la soci t du spectacle. Guy Debord was one of the most important participants in the activities associated with the Situationist International in the 1960s. In a sweeping revision of Marxist categories, the notion of the spectacle takes the problem of the commodity from the sphere of economics to a point at which the commodity as an image dominates not only economic exchange but the primary communicative and symbolic activity of all modern societies. Today, Debord's work continues to be in the forefront of debates about the fate of consumer society and the operation of modern social power. At the same time it was one of the most influential theoretical works for a wide range of political and revolutionary practice in the 1960s. Originally published in France in 1967, Society of the Spectacle offered a set of radically new propositions about the nature of contemporary capitalism and modern culture. For the first time, Guy Debord's pivotal work Society of the Spectacle appears in a definitive and authoritative English translation. ![]()
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