Friday, 11 April 2014

Some Situtionistist quotes .

"A revolutionary alteration of the present forms of culture can be nothing less than the supersession of all aspects of the aesthetic and technological apparatus that constitutes an aggregation of spectacles separated from life".

"The point is not to engage in some sort of revolutionary art-criticism, but to make a revolutionary critique of all art".

"Art criticism is a second-degree spectacle. The critic is someone who makes a spectacle out of his very condition as a spectator — a specialized and therefore ideal spectator, expressing his ideas and feelings about a work in which he does not really participate. He re-presents, restages, his own nonintervention in the spectacle. The weakness of random and largely arbitrary fragmentary judgments concerning spectacles that do not really concern us is imposed upon all of us in many banal discussions in private life. But the art critic makes a show of this kind of weakness, presenting it as exemplary".

"Revolution is not “showing” life to people, but bringing them to life. A revolutionary organization must always remember that its aim is not getting its adherents to listen to convincing talks by expert leaders, but getting them to speak for themselves, in order to achieve, or at least strive toward, an equal degree of participation"
1961 .
"The affluent society is a society of voyeurs. To each his own kaleidoscope: a tiny movement of the fingers and the picture changes. You can’t lose: two fridges, a mini-car, TV, promotion, time to kill... then the monotony of the images we consume gets the upper hand, reflecting the monotony of the action which produces them, the slow rotation of the kaleidoscope between finger and thumb. There was no mini-car, only an ideology almost unconnected with the automobile machine. Flushed with Pimm’s No.1, we savour a strange cocktail of alcohol and class struggle. Nothing surprising any more, there’s the rub! The monotony of the ideological spectacle makes us aware of the passivity of life: survival"
"The gentleness of these methods of oppression throws a certain light on the perversion which prevents me from shouting out “The emperor has no clothes!” each time the sovereignty of my everyday life reveals its poverty. Obviously police brutality is still going strong, to say the least. Everywhere it raises its head the kindly souls of the left quite rightly condemn it. But what do they do about it? Do they urge people to arm themselves? Do they call for legitimate reprisals? Do they encourage pig-hunts like the one which decorated the trees of Budapest with the finest fruits of the AVO? No: they organize peaceful demonstrations at which their trade-union police force treats anyone who questions their orders as an agent provocateur. The new policemen are ready to take over. The social psychologists will govern without truncheons: no more tough cops, only con cops. Oppressive violence is about to be transformed into a host of reasonably distributed pin-pricks. The same people who denounce police violence from the heights of their lofty ideals are urging us on toward a state based on polite violence."
"All we have in common is the illusion of being together. And beyond the illusion of permitted anodynes there is only the collective desire to destroy isolation"
"Malaise invades me as the crows around me grows. The compromises I have made with stupidity under the pressure of circumstances rush to meet me, swimming towards me in hallucinating waves of faceless heads."
"In a gloomy bar where everyone is bored to death, a drunken young man breaks his glass, then picks up a bottle and smashes it against the wall. Nobody gets excited; the disappointed young man lets himself be thrown out. Yet everyone there could have done exactly the same thing. He alone made the thought concrete, crossing the first radioactive belt of isolation: interior isolation, the introverted separation between self and outside world. Nobody responded to a sign which he thought was explicit. He remained alone like the hooligan who burns down a church or kills a policeman, at one with himself but condemned to exile as long as other people remain exiled from their own existence. He has not escaped from the magnetic field of isolation; he is suspended in a zone of zero gravity. All the same, the indifference which greets him allows him to hear the sound of his own cry; even if this revelation tortures him, he knows that he will have to start again in another register, more loudly; with more coherence. "
" We must never forget that the revolutionary project belongs to the masses alone; leaders help it, Leaders betray it. "
"Work to survive, survive by consuming, survive to consume, the hellish cycle is complete. In the realm of economism, survival is both necessary and sufficient. This is the fundamental truth of bourgeois society."
"Purchasing power is a license to purchase power. The old proletariat sold its labour power in order to subsist; what little leisure time it had was passed pleasantly enough in conversations, arguments, drinking, making love, wandering, celebrating and rioting. The new proletarian sells his labour power in order to consume. When he’s not flogging himself to death to get promoted in the labour hierarchy, he’s being persuaded to buy himself objects to distinguish himself in the social hierarchy. The ideology of consumption becomes the consumption of ideology."
"People usually associate creativity with works of art, but what are works of art alongside the creative energy displayed by everyone a thousand times a day: seething unsatisfied desires, daydreams in search of a foothold in reality, feelings at once confused and luminously clear, ideas and gestures presaging nameless upheavals. All this energy, of course, is relegated to anonymity and deprived of adequate means of expression, imprisoned by survival and obliged to find outlets by sacrificing its qualitative richness and conforming to the spectacle's categories"
"The new artist protests", wrote Tzara in 1919. "He no longer paints: he creates directly." The new artists of the future, constructors of situations to be lived, will undoubtedly have immediacy as their most succinct - though also their most radical - demand. I say 'succinct' because it is important after all not to be confused by the connotations of the word 'spontaneity'. Spontaneity can never spring from internalized restraints, even subconscious ones, nor can it survive the effects of alienating abstraction and spectacular co-optation: it is a conquest, not a given. The reconstruction of the individual presupposes the reconstruction of the unconscious (cf the construction of dreams).
"The traveller who is always thinking about the length of the road before them tires more easily than his or her companion who lets their imagination wander as they go along. Similarly, anxious attention paid to lived experience can only impede it, abstract it, and make it into nothing more than a series of memories-to-be."
True poetry cares nothing for poems. In his quest for the Book, Mallarmé wanted nothing so much as to abolish the poem. What better way could there be of abolishing the poem than realizing it? And indeed a few of Mallarmé's contemporaries proved themselves rather brilliant exponents of just such a 'new poetry'. Did the author of Herodiade have an inking, perhaps, when he described them as "angels of purity", that the anarchists with their bombs offered the poet a key which, walled up in his words, he could never use?
Poetry is always somewhere. Its recent abandonment of the arts makes it easier to see that it resides primarily in individual acts, in a lifestyle and in the search for such a style. Everywhere repressed, this poetry springs up everywhere. Brutally put down, it is reborn in violence. It plays muse to rioters, informs revolt and animates all great revolutionary carnivals for a while, until the bureaucrats consign it to the prison of hagiography."


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