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Just who and what were the situationists and what was their influence on punk? Amy Britton investigates…. The above words may be from the Clashbut like so much challenging punk rhetoric, it could so easily have come from the writings of the influential Situationist International.
The discussion then was about the pictures hypnotic capacity. The debates, among the situationist, on the representation of our societies ,were then animated and dynamic. Two decades later, a new popular culture and the consumer society emerged.
Its strange theses give us stirring crescendos of literary power, compelling evocations of an epoch in which unity spelt division, essence appearance, truth falsity. A topsy-turvy world where everything and everybody partook in a perverse paradox. Debord mocked the reality of this non-reality, an absurd world in which ugliness signified beauty, stupidity intelligence, subjecting it to his own dialectical inversion, his own spirit of negation.
March 39 and counting… Nuit Debout and the new French uprising. The situation took on a new dimension after the general strike and day of action on Thursday March On Tuesday March 36 April 5 in the old pre-revolutionary calendar there was another massive turn-out on the streets all over France, with increased police violence and defiant resistance. Police arrested a staggering schoolchildren and students on the day, leading to an evening protest outside a police station involving hundreds of people and more clashes.
The nature of situationism and its founder Guy Debord are exceedingly elusive, and they also constantly endeavoured to be precisely this. A genuine avant-garde movement never stops, that is self-evident. However, while showing due deference, the undersigned shall make a brave attempt to slow down, if only for a very brief moment, this movement and fix it onto paper. In connection with a biennial focusing on photography we will now see examples of both the contemptuous dishonesty of the image and the society of the spectacle that replaces reality when the space around us congeals, when the subjective reality of life becomes an objectified image — what Debord calls the society of the spectacle.