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McKenzie Wark

McKenzie Wark

THE SPECTACLE OF DISINTEGRATION: SITUATIONIST PASSAGES OUT OF THE TWENTIETH CENTURY

By McKenzie Wark

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Published May 2013

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Following his acclaimed history of the Situationist International up until the late sixties, THE BEACH BENEATH THE STREET, McKenzie Wark returns with a companion volume which puts the late work of the Situationists in a broader and deeper context, charting their contemporary relevance and their deep critique of modernity. Wark builds on their work to map the historical stages of the society of the spectacle, from the diffuse to the integrated to what he calls the disintegrating spectacle. THE SPECTACLE OF DISINTEGRATION takes the reader through the critique of political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sangunetti’s pranking of the Italian ruling class, Alice-Becker Ho’s account of the anonymous language of the Romany, Guy Debord’s late films and his surprising work as a game designer.

At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets, THE SPECTACLE OF DISINTEGRATION recalls the hidden journeys taken in the attempt to leave the twentieth century, and plots an exit from the twenty first.

The dustjacket unfolds to reveal a fold-out poster of the collaborative graphic essay combining text selected by McKenzie Wark with composition and drawings by Kevin C. Pyle.

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“Wark’s readable explanation of the movement’s ideas is the best I have read. ” – Edwin Heathcote, In praise of BEACH BENEATH THE STREET, FINANCIAL TIMES

“A playful, smart and occasionally epigrammatic study of the Situationists … this brilliant account is not only an essential work for our own times; it also comes with a cover that, with the minimum of manual dexterity, folds out into a collaborative graphic essay. ” – John Burnside, TIMES LITERARY SUPPLEMENT

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ISBN: 9781844679577 / Hardback / $26.95 / £16.99 / $28.50CAN / 256 Pages

For more information on THE SPECTACLE OF DISINTEGRATION or to buy the book visit:

http://www.versobooks.com/books/1162-the-spectacle-of-disintegration

———————————– 

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**END**

 

Cold Hands & Quarter Moon, ‘Stagnant’ at: http://www.youtube.com/watch?v=GLjxeHvvhJQ (live, at the Belle View pub, Bangor, north Wales); and at http://www.youtube.com/watch?v=YkP_Mi5ideo (new remix, and new video, 2012)  

‘Cheerful Sin’ – a song by Victor Rikowski: http://www.youtube.com/watch?v=tIbX5aKUjO8

 

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

Rikowski Point: http://rikowskipoint.blogspot.com

Volumizer: http://glennrikowski.blogspot.com

Glenn Rikowski on Facebook at: http://www.facebook.com/glenn.rikowski

Online Publications at: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski

 

Situationism

Situationism

REGISTRATION FOR SITUATIONIST ETHICS CONFERENCE

Registration is now open for Situationist Aesthetics: The SI, Now at the University of Sussex on Friday 8th June. 

Keynote: McKenzie Wark (The New School, NY), author of The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International (2011), Gamer Theory (2006) and Hacker Manifesto (2004).

The programme and registration information are available at http://www.situationist-aesthetics.blogspot.co.uk/

Is it oxymoronic, heretical or just plain wrong to talk about Situationist aesthetics? The Situationist International (SI) condemned attempts to discuss its work in terms of aesthetics, but perhaps it is now time to brush the SI against the grain.

When it first announced its programme, the SI insisted that ‘There is no such thing as Situationism’. A few years later, before expelling its members deemed to be too invested in artistic production, the SI declared that in an age of spectacle any work of art produced by a Situationist must necessarily be ‘antisituationist’. The SI’s tactical intransigence regarding the political value of the aesthetic, and its refusal of the possibility of a specifically Situationist aesthetic, threw up problems that remained unresolved by the time of the SI’s dissolution. Since 1972, particularly in Anglophone contexts, Situationist practices have penetrated an array of cultural spheres, and much cultural production which the SI would have dismissed as spectacular has claimed some Situationist influence.

The SI located itself within but against culture. This symposium asks whether such a position is tenable, and what possibility might there be for Situationist aesthetics after all. Do cultural phenomena such as punk, or the current psychogeography industry, for example, work as or against Situationist aesthetics? Is it possible to identify art works and/or practices indebted to the SI that do not recuperate its politics but fortify and develop them?

**END**

 

‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=2h7tUq0HjIk (live)

 

‘Maximum levels of boredom

Disguised as maximum fun’

Cold Hands & Quarter Moon, ‘Stagnant’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=GLjxeHvvhJQ (live, at the Belle View pub, Bangor, north Wales)  

 

‘Human Herbs’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

‘Stagnant’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=YkP_Mi5ideo  

‘Cheerful Sin’ – a song by Victor Rikowski: http://www.youtube.com/watch?v=tIbX5aKUjO8

‘The Lamb’ by William Blake – set to music by Victor Rikowski: http://www.youtube.com/watch?v=vw3VloKBvZc

 

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

Glenn Rikowski’s MySpace Blog: http://www.myspace.com/glennrikowski/blog

Situationist Human

SITUATIONIST AESTHETICS: THE S.I. NOW

University of Sussex, Brighton, UK – Friday 8th June 2012

Keynote: McKenzie Wark (The New School, NY), author of The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International (2011), Gamer Theory (2007) and Hacker Manifesto (2004).

“Since the beginning of the movement there has been a problem as to what to call artistic works by members of the SI. It was understood that none of them was a situationist production, but what to call them? I propose a very simple rule: to call them ‘antisituationist.’ We are against the dominant conditions of artistic inauthenticity. I don’t mean that anyone should stop painting, writing, etc. I don’t mean that that has no value. I don’t mean that we could continue to exist without doing that. But at the same time we know that such works will be coopted by society and used against us. Our impact lies in the elaboration of certain truths which have an explosive power whenever people are ready to struggle for them. At the present stage the movement is only in its infancy regarding the elaboration of these essential points.” — Attila Kotányi at the Fifth Conference of the SI, 1961

Is it oxymoronic, heretical or just plain wrong to talk about Situationist aesthetics? The Situationist International (SI) condemned attempts to discuss its work in terms of aesthetics, but perhaps it is now time to brush the SI against the grain.

When it first announced its programme, the SI insisted that ‘There is no such thing as Situationism’. A few years later, before expelling its members deemed to be too invested in artistic production, the SI declared that in an age of spectacle any work of art produced by a Situationist must necessarily be ‘antisituationist’. The SI’s tactical intransigence regarding the political value of the aesthetic, and its refusal of the possibility of a specifically Situationist aesthetic, threw up problems that remained unresolved by the time of the SI’s dissolution. Since 1972, particularly in Anglophone contexts, Situationist practices have penetrated an array of cultural spheres, and much cultural production which the SI would have dismissed as spectacular has claimed some Situationist influence.

The SI located itself within but against culture. This symposium asks whether such a position is tenable, and what possibility might there be for Situationist aesthetics after all. Do cultural phenomena such as punk, or the current psychogeography industry, for example, work as or against Situationist aesthetics? Is it possible to identify art works and/or practices indebted to the SI that do not recuperate its politics but fortify and develop them?

Possible themes include, but are not limited to:

·           The work of Guy Debord and other members of the Situationist International

·           The work of artists, writers, thinkers or film-makers proximate to or influenced by the SI

·           Critiques of the SI

·           (Post-)Situationist theory now

·           Détournement, plagiarism, and recuperation

·           Spectacular and anti-spectacular aesthetics

·           The uses and abuses of psychogeography

·           Punk and art writing

Please submit proposals of no more than 250 words for papers or presentations of 20 minutes to Sam Cooper at situ.aesthetics@gmail.com by 16th March 2012.

For further information: http://situationist-aesthetics.blogspot.com

**END**

 

‘Maximum levels of boredom

Disguised as maximum fun’

Cold Hands & Quarter Moon, ‘Stagnant’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=GLjxeHvvhJQ (live, at the Belle View pub,Bangor, northWales)  

 

‘Human Herbs’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

‘Stagnant’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=YkP_Mi5ideo  

 

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

Cold Hands & Quarter Moon: http://www.myspace.com/coldhandsmusic

The Ockress: http://www.theockress.com

Rikowski Point: http://rikowskipoint.blogspot.com

Volumizer: http://glennrikowski.blogspot.com

Situationism

SITUATIONIST ETHICS

CONFERENCE ON THE SI NOW

Universityof Sussex, Brighton, UK– Friday 8th June 2012

Keynote: McKenzie Wark (The New School, NY), author of The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International (2011), Gamer Theory (2007) and Hacker Manifesto (2004).

“Since the beginning of the movement there has been a problem as to what to call artistic works by members of the SI. It was understood that none of them was a situationist production, but what to call them? I propose a very simple rule: to call them ‘antisituationist.’ We are against the dominant conditions of artistic inauthenticity. I don’t mean that anyone should stop painting, writing, etc. I don’t mean that that has no value. I don’t mean that we could continue to exist without doing that. But at the same time we know that such works will be coopted by society and used against us. Our impact lies in the elaboration of certain truths which have an explosive power whenever people are ready to struggle for them. At the present stage the movement is only in its infancy regarding the elaboration of these essential points.” — Attila Kotányi at the Fifth Conference of the SI, 1961

Is it oxymoronic, heretical or just plain wrong to talk about Situationist aesthetics? The Situationist International (SI) condemned attempts to discuss its work in terms of aesthetics, but perhaps it is now time to brush the SI against the grain.

When it first announced its programme, the SI insisted that ‘There is no such thing as Situationism’. A few years later, before expelling its members deemed to be too invested in artistic production, the SI declared that in an age of spectacle any work of art produced by a Situationist must necessarily be ‘antisituationist’. The SI’s tactical intransigence regarding the political value of the aesthetic, and its refusal of the possibility of a specifically Situationist aesthetic, threw up problems that remained unresolved by the time of the SI’s dissolution. Since 1972, particularly in Anglophone contexts, Situationist practices have penetrated an array of cultural spheres, and much cultural production which the SI would have dismissed as spectacular has claimed some Situationist influence.

The SI located itself within but against culture. This symposium asks whether such a position is tenable, and what possibility might there be for Situationist aesthetics after all. Do cultural phenomena such as punk, or the current psychogeography industry, for example, work as or against Situationist aesthetics? Is it possible to identify art works and/or practices indebted to the SI that do not recuperate its politics but fortify and develop them? 

Possible themes include, but are not limited to:
·           The work of Guy Debord and other members of the Situationist International
·           The work of artists, writers, thinkers or film-makers proximate to or influenced by the SI
·           critiques of the SI
·           (Post-)Situationist theory now
·           Détournement, plagiarism, and recuperation
·           Spectacular and anti-spectacular aesthetics
·           The uses and abuses of psychogeography
·           Punk and art writing

Please submit proposals of no more than 250 words for papers or presentations of 20 minutes to Sam Cooper at situ.aesthetics@gmail.com by 16th March 2012.

 

**END**

 

‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=2h7tUq0HjIk (live)

 

‘Maximum levels of boredom

Disguised as maximum fun’

Cold Hands & Quarter Moon, ‘Stagnant’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=GLjxeHvvhJQ (live, at the Belle View pub, Bangor, north Wales)  

 

‘Cheerful Sin’ – a new song by Victor Rikowski: http://www.youtube.com/watch?v=tIbX5aKUjO8

 

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

Cold Hands & Quarter Moon: http://www.myspace.com/coldhandsmusic

The Ockress: http://www.theockress.com

Rikowski Point: http://rikowskipoint.blogspot.com

Volumizer: http://glennrikowski.blogspot.com

Online Publications at: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski

Glenn Rikowski on Facebook at: http://www.facebook.com/glenn.rikowski

Situationism

SPECTACULAR CAPITALISM

Spectacular Capitalism: Guy Debord and the Practice of Radical Philosophy
Richard Gilman-Opalsky

Despite recent crises in the financial system, uprisings in Greece, France, Tunisia, and Bolivia, worldwide decline of faith in neoliberal trade policies, deepening ecological catastrophes, and global deficits of realized democracy, we still live in an era of “spectacular capitalism.” But what is “spectacular capitalism?” Spectacular capitalism is the dominant mythology of capitalism that disguises its internal logic and denies the macroeconomic reality of the actually existing capitalist world. Taking on this elusive mythology, and those who too easily accept it, Richard Gilman-Opalsky exposes the manipulative and self-serving narrative of spectacular capitalism.

Drawing on the work of Guy Debord, Gilman-Opalsky argues that the theory of practice and practice of theory are superseded by upheavals that do the work of philosophy. One could ask: Who better raises questions about public and private spheres of influence and control, Jürgen Habermas or the water war activists who made a rebellion in Cochabamba, Bolivia in the spring of 2000? Or, has any sociological theorist done better than the Zapatistas to reframe and raise questions about indigenous identity? Spectacular Capitalism makes the case not only for a new philosophy of praxis, but for praxis itself as the delivery mechanism for philosophy – for the field of human action, of contestation and conflict, to raise directly the most irresistible questions about the truth and morality of the existing state of affairs.

“Richard Gilman-Opalsky’s Spectacular Capitalism rescues Situationist theory and praxis from merely antiquarian and art-historical commentary and puts it in dialogue with the project of a radical philosophy for leaving the 21st century.” – McKenzie Wark, author of A Hacker Manifesto and Gamer Theory

Bio: Richard Gilman-Opalsky is Assistant Professor of Political Philosophy in the Department of Political Science at the University of Illinois at Springfield. He is the author of Unbounded Publics: Transgressive Public Spheres, Zapatismo, and Political Theory (Lexington Books, 2008), as well as numerous articles.

PDF available freely online: http://www.minorcompositions.info/spectacularcapitalism.html
ISBN 978-1-57027-228-8

Released by Minor Compositions, London / New York / Port Watson
Minor Compositions is a series of interventions & provocations drawing from autonomous politics, avant-garde aesthetics, and the revolutions of everyday life.
Minor Compositions is an imprint of Autonomedia
www.minorcompositions.info |info@minorcompositions.info

 

**END**

 

‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=2h7tUq0HjIk (live)

 

‘Maximum levels of boredom

Disguised as maximum fun’

Cold Hands & Quarter Moon, ‘Stagnant’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=GLjxeHvvhJQ (live, at the Belle View pub, Bangor, north Wales)  

 

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

The Ockress: http://www.theockress.com

Rikowski Point: http://rikowskipoint.blogspot.com

Volumizer: http://glennrikowski.blogspot.com

Situationism

THE BEACH BENEATH THE STREET: THE EVERYDAY LIFE AND GLORIOUS TIMES OF THE SITUATIONIST INTERNATIONAL

BY MCKENZIE WARK

PUBLISHED: 22 AUGUST 2011

“The lack of politicisation in the recent riots around Britain can be frustrating to those steeped in French theory, those who see the riot as what Martin Luther King described as the “language of the unheard”. But London 2011 is quite evidently not Paris 1968. A new book about the ideas that led to that moment in Paris sheds light on quite how different the two countries’ traditions are…

Wark has done us a great favour by explaining how situationist ideas (which included a proto-internet, an information super-network free of government control) still represent the sharpest and most surprisingly prescient critiques of the contemporary city.” Edwin Heathcote, FINANCIAL TIMES
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EVENTS:

August 23, 2011, 8.00pm
Cafe OTO
18—22 Ashwin street, Dalston
London E8 3DL UK

McKenzie Wark appears at cafe OTO to talk about his book on the life and times of the Situationist International, The Beach Beneath the Street.
For more information: http://www.versobooks.com/events/191-the-beach-beneath-the-street-at-cafe-oto

August 24, 2011, 7.00pm
Housmans
5 Caledonian Road , King’s Cross
London N1 9DX

McKenzie Wark’s new book on the subject The Beach Beneath the Street: The Glorious Times of the Situationist International, explores anew the history of the movement and connects the Situationist’s work to new practices in communication, built form, and everyday life.
For more information: http://www.versobooks.com/events/196-the-glorious-times-of-the-situationist-international

August 25, 2011, 7.00pm
Whitechapel Gallery
77-82 Whitechapel High Street
London E1 7QX UK

Writer McKenzie Wark explores the diversity of the Situationist International in his new book The Beach Beneath the Street, re-reading their history in the light of our contemporary experience of communications, architecture, and everyday life.
For more information: http://www.versobooks.com/events/188-the-beach-beneath-the-street-new-new-babylon
———————————–
McKenzie Wark’s history of the Situationist International writes against twenty-first century boredom with art and politics, in which both have ‘ceased to be modern, and finding it too passé to be postmodern… is now merely contemporary.’ Creating a new kind of historiography from the group’s legendary oeuvre, Wark re-presents the SI’s history in light of contemporary experiences to shake us out of our boredom and re-kindle the explosive potential of everyday life.

Over 50 years after the Situationist International appeared, its legacy of Marxism mixed with 20th century European artistic avant-garde continues to influence activists, artists and theorists. From the Invisible Committee’s bestselling The Coming Insurrection to Iain Sinclair’s psychogeographic explorations, the work of the Situationists echoes through twenty-first century thought. Yet, despite the rich possibilities, its breadth, diversity, and potential impact are still largely unexplored. Wark’s volume is a radical re-imagining of the Situationist legacy, which reconnects their work to new practices in communication, architecture, and everyday life.

Arguing that ‘Situations are temporary, singular unities of space and time… They call for a different kind of remembering,’ Wark takes readers on a tour of the movement from bohemian after-hours drinks in the cellars of 1950s St. Germain-des-Prés to the mythical beach ‘sous les pavès’ of the explosive days of May ’68.

Blending history and narrative, biography and literature, Wark traces the group’s development as an ensemble creation, rather than the brainchild of its most famous member, Guy Debord. Roaming through Europe and the lives of those who made up the movement – including Constant, Asger Jorn, Michèle Bernstein, Alex Trocchi and Jacqueline De Jong – Wark uncovers an international movement riven with conflicting passions, expanding the gaze beyond the Paris coterie.

Taking up Guy Debord’s famous injunction, “when the legend becomes fact, print the legend,” Wark delves into the SI’s diverse body of work to re-present the legendary Situationists in a way that ignites the possibility of resistance for our time. Wark puts the Situationist experiments into context for twenty-first century struggles, and in doing so, suggests that while the Situationists failed to escape the world of twentieth-century spectacle, there might still be hope for us to escape the twenty-first century, while we still can.

The book jacket is also a fold out poster, Totality for Beginners. A collaborative graphic essay, the beautifully rendered poster employs text selected by McKenzie Wark with composition and drawings by Kevin C. Pyle
———————————–
PRAISE FOR THE HACKER MANIFESTO

“This is a perceptive, provocative study, packed to the seams with acute analysis.” Terry Eagleton, NATION

“Wark’s book challenges the new regime of property relations with all the epigrammatic vitality, conceptual innovation, and revolutionary enthusiasm of the great manifestos.” Michael Hardt, co-author of EMPIRE

“Infuriating and inspiring in turn, A Hacker Manifesto will spawn a thousand theses, and just maybe spawn change.” Mike Holderness, NEW SCIENTIST

“A Hacker Manifesto will yield some provocative ideas and real challenges to a world in which everything is commodified.” Eric J. Iannelli, TIMES LITERARY SUPPLEMENT
———————————–
MCKENZIE WARK is the author of A HACKER MANIFESTO, GAMER THEORY, 50 YEARS OF RECUPERATION OF THE SITUATIONIST INTERNATIONAL and various other books. He teaches at the New School for Social Research and Eugene Lang College in New York City.
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ISBN: 978 1 84467 720 7 / $26.95 / £14.99 / $33.50CAN / Hardback / 224 pages
———————————–
For a look into MCKENZIE WARK work visit:
http://vectorsjournal.org/issues/7/totality/

For more information about THE BEACH BENEATH THE STREET or to buy the book visit:
http://www.versobooks.com/books/980-the-beach-beneath-the-street
———————————–
Visit Verso’s website for information on our upcoming events, new reviews and publications and special offers:http://www.versobooks.com

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And get updates on Twitter –  @VersoBooks
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**END**

 

‘I believe in the afterlife.

It starts tomorrow,

When I go to work’

Cold Hands & Quarter Moon, ‘Human Herbs’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=2h7tUq0HjIk (live)

 

‘Maximum levels of boredom

Disguised as maximum fun’

Cold Hands & Quarter Moon, ‘Stagnant’ at: http://www.myspace.com/coldhandsmusic (recording) and http://www.youtube.com/watch?v=GLjxeHvvhJQ (live, at the Belle View pub, Bangor, north Wales)  

 

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

MySpace Profile: http://www.myspace.com/glennrikowski

The Ockress: http://www.theockress.com

Rikowski Point: http://rikowskipoint.blogspot.com

Volumizer: http://glennrikowski.blogspot.com

Guy Debord

SPECTACULAR CAPITALISM

Spectacular Capitalism Release Party and Presentation 
Saturday June 25th @ 7PM @ X Marks the Bökship (http://bokship.org)
210/ Unit 3 Cambridge Heath Road London E2 9NQ

Over the past forty years the ideas and practices of Guy Debord and the Situationist International have become a constant reference point for those involved in radical politics, the arts, and cultural theory. Despite this ubiquity Debord’s work has been reduced to a palatable cliché rather than being used as a tool for crafting an ongoing practice of critique and engagement. Come on join us to celebrate the release of Richard Gilman-Opalsky’s new book, Spectacular Capitalism: Guy Debord and the Practice of Radical Philosophy, as we excavate this potential from the historical wreckage. 

Drawing on the work of Guy Debord, Gilman-Opalsky argues that the theory of practice and practice of theory are superseded by upheavals that do the work of philosophy. Spectacular Capitalism makes the case not only for a new philosophy of praxis, but for praxis itself as the delivery mechanism for philosophy – for the field of human action, of contestation and conflict, to raise directly the most irresistible questions about the truth and morality of the existing state of affairs.

Commentary and response from Gavin Grindon:

“Richard Gilman-Opalsky’s Spectacular Capitalism rescues Situationist theory and praxis from merely antiquarian and art-historical commentary and puts it in dialogue with the project of a radical philosophy for leaving the 21st century.” – McKenzie Wark, author of A Hacker Manifesto and Gamer Theory

Organized by Minor Compositions (http://www.minorcompositions.info) and the Centre for Ethics and Politics @ Queen Mary, University of London (http://cfep.org.uk)

Spectacular Capitalism: Guy Debord and the Practice of Radical Philosophy
Richard Gilman-Opalsky
http://www.minorcompositions.info/spectacularcapitalism.html
To be released June 2011
ISBN 978-1-57027-228-8

Bio: Richard Gilman-Opalsky is Assistant Professor of Political Philosophy in the Department of Political Science at the University of Illinois at Springfield. He is the author of Unbounded Publics: Transgressive Public Spheres, Zapatismo, and Political Theory (Lexington Books, 2008), as well as numerous articles.

Released by Minor Compositions, London / New York / Port Watson
Minor Compositions is a series of interventions & provocations drawing from autonomous politics, avant-garde aesthetics, and the revolutions of everyday life.
Minor Compositions is an imprint of Autonomedia
www.minorcompositions.info |info@minorcompositions.info

*****

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk