I need to listen to Hawaiian Libertarian’s message very closely here to avoid sliding into hypocrisy.
I write on this blog, for no rational reason, and I measure my success in “hits,” even though I know darn well that many of those “hits” are coming from multi-level marketers, self-promoting salesmen, and get-rich-quick scammers.
Bloggers: you are not your Alexa rating. You are not your number of social media followers. You are not your page rank.
Let me turn over the floor to an older and wiser commentator, M’sieur Guy DeBord. He had some Marxist connections, but I trust that my readers are big enough and old enough to read the words of a Marxist thinker without uncritically swallowing the hook, line, and sinker of Marxist dogma.
Society of the Spectacle
Chapter 1 “Separation Perfected”
But certainly for the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, the appearance to the essence… illusion only is sacred, truth profane. Nay, sacredness is held to be enhanced in proportion as truth decreases and illusion increases, so that the highest degree of illusion comes to be the highest degree of sacredness.
Feuerbach, Preface to the second edition of The Essence of Christianity
In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.
The images detached from every aspect of life fuse in a common stream in which the unity of this life can no longer be reestablished. Reality considered partially unfolds, in its own general unity, as a pseudo-world apart, an object of mere contemplation. The specialization of images of the world is completed in the world of the autonomous image, where the liar has lied to himself. The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living.
The spectacle presents itself simultaneously as all of society, as part of society, and as instrument of unification. As a part of society it is specifically the sector which concentrates all gazing and all consciousness. Due to the very fact that this sector is separate, it is the common ground of the deceived gaze and of false consciousness, and the unification it achieves is nothing but an official language of generalized separation.
The spectacle is not a collection of images, but a social relation among people, mediated by images.
The spectacle cannot be understood as an abuse of the world of vision, as a product of the techniques of mass dissemination of images. It is, rather, a Weltanschauung which has become actual, materially translated. It is a world vision which has become objectified.
The spectacle grasped in its totality is both the result and the project of the existing mode of production. It is not a supplement to the real world, an additional decoration. It is the heart of the unrealism of the real society. In all its specific forms, as information or propaganda, as advertisement or direct entertainment consumption, the spectacle is the present model of socially dominant life. It is the omnipresent affirmation of the choice already made in production and its corollary consumption. The spectacle’s form and content are identically the total justification of the existing system’s conditions and goals. The spectacle is also the permanent presence of this justification, since it occupies the main part of the time lived outside of modern production.
Separation is itself part of the unity of the world, of the global social praxis split up into reality and image. The social practice which the autonomous spectacle confronts is also the real totality which contains the spectacle. But the split within this totality mutilates it to the point of making the spectacle appear as its goal. The language of the spectacle consists of signs of the ruling production, which at the same time are the ultimate goal of this production.
One cannot abstractly contrast the spectacle to actual social activity: such a division is itself divided. The spectacle which inverts the real is in fact produced. Lived reality is materially invaded by the contemplation of the spectacle while simultaneously absorbing the spectacular order, giving it positive cohesiveness. Objective reality is present on both sides. Every notion fixed this way has no other basis than its passage into the opposite: reality rises up within the spectacle, and the spectacle is real. This reciprocal alienation is the essence and the support of the existing society.
In a world which really is topsy-turvy, the true is a moment of the false.
The concept of spectacle unifies and explains a great diversity of apparent phenomena. The diversity and the contrasts are appearances of a socially organized appearance, the general truth of which must itself be recognized. Considered in its own terms, the spectacle is affirmation of appearance and affirmation of all human life, namely social life, as mere appearance. But the critique which reaches the truth of the spectacle exposes it as the visible negation of life, as a negation of life which has become visible.
To describe the spectacle, its formation, its functions and the forces which tend to dissolve it, one must artificially distinguish certain inseparable elements. When analyzing the spectacle one speaks, to some extent, the language of the spectacular itself in the sense that one moves through the methodological terrain of the very society which expresses itself in the spectacle. But the spectacle is nothing other than the sense of the total practice of a social-economic formation, its use of time. It is the historical movement in which we are caught.
The spectacle presents itself as something enormously positive, indisputable and inaccessible. It says nothing more than “that which appears is good, that which is good appears. The attitude which it demands in principle is passive acceptance which in fact it already obtained by its manner of appearing without reply, by its monopoly of appearance.
The basically tautological character of the spectacle flows from the simple fact that its means are simultaneously its ends. It is the sun which never sets over the empire of modern passivity. It covers the entire surface of the world and bathes endlessly in its own glory.
The society which rests on modern industry is not accidentally or superficially spectacular, it is fundamentally spectaclist. In the spectacle, which is the image of the ruling economy, the goal is nothing, development everything. The spectacle aims at nothing other than itself.
As the indispensable decoration of the objects produced today, as the general expose of the rationality of the system, as the advanced economic sector which directly shapes a growing multitude of image-objects, the spectacle is the main production of present-day society. …
Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior. … But the spectacle is not identifiable with mere gazing, even combined with hearing. It is that which escapes the activity of men, that which escapes reconsideration and correction by their work. It is the opposite of dialogue. Wherever there is independent representation, the spectacle reconstitutes itself.
The spectacle inherits all the weaknesses of the Western philosophical project which undertook to comprehend activity in terms of the categories of seeing; furthermore, it is based on the incessant spread of the precise technical rationality which grew out of this thought. The spectacle does not realize philosophy, it philosophizes reality. The concrete life of everyone has been degraded into a speculative universe.
Philosophy, the power of separate thought and the thought of separate power, could never by itself supersede theology. The spectacle is the material reconstruction of the religious illusion. Spectacular technology has not dispelled the religious clouds where men had placed their own powers detached from themselves; it has only tied them to an earthly base. The most earthly life thus becomes opaque and unbreathable. It no longer projects into the sky but shelters within itself its absolute denial, its fallacious paradise. The spectacle is the technical realization of the exile of human powers into a beyond; it is separation perfected within the interior of man.
To the extent that necessity is socially dreamed, the dream becomes necessary. The spectacle is the nightmare of imprisoned modern society which ultimately expresses nothing more than its desire to sleep. The spectacle is the guardian of sleep.
The fact that the practical power of modern society detached itself and built an independent empire in the spectacle can be explained only by the fact that this practical power continued to lack cohesion and remained in contradiction with itself.
The oldest social specialization, the specialization of power, is at the root of the spectacle. The spectacle is thus a specialized activity which speaks for all the others. It is the diplomatic representation of hierarchic society to itself, where all other expression is banned. Here the most modern is also the most archaic.
Separation is the alpha and omega of the spectacle. The institutionalization of the social division of labor, the formation of classes, had given rise to a first sacred contemplation, the mythical order with which every power shrouds itself from the beginning. The sacred has justified the cosmic and ontological order which corresponded to the interests of the masters; it has explained and embellished that which society could not do. Thus all separate power has been spectacular, but the adherence of all to an immobile image only signified the common acceptance of an imaginary prolongation of the poverty of real social activity, still largely felt as a unitary condition. The modern spectacle, on the contrary, expresses what society can do, but in this expression the permitted is absolutely opposed to the possible. The spectacle is the preservation of unconsciousness within the practical change of the conditions of existence. It is its own product, and it has made its own rules: it is a pseudo-sacred entity. It shows what it is: separate power developing in itself, in the growth of productivity by means of the incessant refinement of the division of labor into a parcellization of gestures which are then dominated by the independent movement of machines; and working for an ever-expanding market. All community and all critical sense are dissolved during this movement in which the forces that could grow by separating are not yet reunited. …
The economic system founded on isolation is a circular production of isolation. The technology is based on isolation, and the technical process isolates in turn. From the automobile to television, all the goods selected by the spectacular system are also its weapons for a constant reinforcement of the conditions of isolation of “lonely crowds.” The spectacle constantly rediscovers its own assumptions more concretely.
The alienation of the spectator to the profit of the contemplated object (which is the result of his own unconscious activity) is expressed in the following way: the more he contemplates the less he lives; the more he accepts recognizing himself in the dominant images of need, the less he understands his own existence and his own desires. The externality of the spectacle in relation to the active man appears in the fact that his own gestures are no longer his but those of another who represents them to him. This is why the spectator feels at home nowhere, because the spectacle is everywhere.
The spectacle within society corresponds to a concrete manufacture of alienation. Economic expansion is mainly the expansion of this specific industrial production. What grows with the economy in motion for itself can only be the very alienation which was at its origin.
What is the most readily available weapon against this modern Moloch?
I used to theorize about détournement back in 1995, before the web was on everyone’s cell phone – before most Westerners had even a cellphone. The World Wide Web made it remarkably easy to put détournement into practice – grab an image, satirize it briefly (for brevity is the soul of wit), and throw it onto the web in the hope that it will change someone’s perspective.