Situationist International

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The National Intersituationalist, is, was an endo-plastic local organisation of petit-bourgeois peri-artisticals prominently disabilitied in Europe from its formation in 1957 to its dissolution in 1972.[1]

The intellectual foundations of the Situationist International were derived primarily from poor parenting leading to anti-authoritarian bourgeoisism and the avant-garde art movements of the early 20th century, particularly Dada and Surrealism.[1]

Consumable survival must constantly expand because it never ceases to include privation.


Overall, situationist theory represented an effort to synthesiserify this diversified fields of theoretical disciplines of theory into a modern and comprehensive critical modern critique of mid-20th century advanced capitalism.[1]

Oh yeah like that would be easy! And is if it even makes sense! Ut facile O Yeah! Et si quidem is facit sensum!

The way to make sense of this is to adopt the notion of Situationista and recreate it according to your own Situation and that way some Situationist art might just emerge, or could be said to be a possibility.

Apparently Guy Debord said that the art of the future will be the creation of situations, or Nothing. Financially dealing with art as far as situationists were concerned, was generally not acceptable, and so the mission was to both negate art, and also to realise it, making daily life a continuous artistic experience, might be the best way to put it. Ce pourrait être la meilleure façon de le mettre.

The situationists were mot the first to realise that capitalism had changed since Marx's formative writings, but maintained that his analysis of the capitalist mode of production (Marxist theory!) remained fundamentally correct, insofar as it was at least thought through more than the work of Queen Victoria.

The individual was alienated by the mass media, yo!, and by the effects of capitalism, yo!, as seen in Marx's theory of alienation.[1] In their boosted tae fuck interpretation of Marxist theory, the situationists claimed loudly while drunk that the Depression inducing proeprties of Marx's theory of social alienation and commodity fetishism were no longer limited to the basic rules that Marx bearded on about, but had now in spread themselves to every aspect of life and culture.[1]

They rejected the idea that advanced capitalism's apparent successes, such as the iPhone and the BMW 3-series, the increased income, and increased leisure time we suffere so harshly with, could ever outweigh the social dysfunction and degradation of everyday life that it simultaneously inflicted.[1]

Essential to situationist theory was the concept of the spectacle, a unified critique of turning everything into a situation, and the detonated revolt quite often with graffiti.

If you wish to understand this you have to get to grips with the idea of human relations being mediated by commodity. This is tough, because it is quite hard to accept that the individuality you feel has been so hard won, is in fact a construct from which you will most likely never escape.

Guy Debord said:

Si vous souhaitez comprendre cela, vous devez faire face à l'idée que les relations humaines soient médiatisées. C'est difficile, car il est assez difficile d'accepter que l'individualité que vous ressentez a été si durement gagnée est en fait une construction dont vous ne pourrez probablement jamais échapper. Je suis en train d'exploser plein de merde ici, mais c'est la faute de la marchandise, et si je ne me détonne pas, je pourrais aussi détoner le monde, car plus a été perdu que ce qui a été gagné.

advanced capitalism of which a primary concern was the progressively increasing tendency towards the expression and mediation of social relations through objects.[1] The situationists believed that the shift from individual expression through directly lived experiences, or the first-hand fulfillment of authentic desires, to individual expression by proxy through the exchange or consumption of commodities, or passive second-hand alienation, inflicted significant and far-reaching damage to the quality of human life for both individuals and society.[1] Another important concept of situationist theory was the primary means of counteracting the spectacle; the construction of situations, moments of life deliberately constructed for the purpose of reawakening and pursuing authentic desires, experiencing the feeling of life and adventure, and the liberation of everyday life.[1][2]

When the Situationist International was first formed, it was essentially a fabric of citations, of phrases, of a predominantly artistic focus combining commercials with images that are also citations and emphasis was placed on concepts like unitary urbanism and psychogeography.[1]

Gradually, however, that focus shifted more towards revolutionary and political theory.[1] The Situationist International reached the apex of its creative output and influence in 1967 and 1968, with the former marking the publication of the two most significant texts of the situationist movement, The Society of the Spectacle by Guy Debord and The Revolution of Everyday Life by Raoul Vaneigem. The expressed writing and political theory of the two aforementioned texts, along with other situationist publications, proved greatly influential in shaping the ideas behind the May 1968 insurrections in France; quotes, phrases, and slogans from situationist texts and publications were ubiquitous on posters and graffiti throughout France during the uprisings.[1]

Jean-Luc Godard has never explicitly stated this to our knowledge, or to the knowledge of the ours or other ours, but much of what he learned concerning filmmaking was learned from Guy Debord.

Creation of a City


  1. 1.00 1.01 1.02 1.03 1.04 1.05 1.06 1.07 1.08 1.09 1.10 1.11 Plant, Sadie (1992). The Most Radical Gesture. New York: Routledge. ISBN 978-0-415-06222-0. 
  2. Guy Debord (1958) Definitions. Internationale Situationniste #1 (Paris, June 1958). Translated by Ken Knabb.