DOCSLIB.ORG

The Situationist International the Situationist International a Critical Handbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Situationist International the Situationist International a Critical Handbook The Situationist International The Situationist International A Critical Handbook Edited by Alastair Hemmens and Gabriel Zacarias First published 2020 by Pluto Press 345 Archway Road, London N6 5AA www.plutobooks.com Copyright © Alastair Hemmens and Gabriel Zacarias 2020 The right of the individual contributors to be identified as the author of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978 0 7453 3890 3 Hardback ISBN 978 0 7453 3889 7 Paperback ISBN 978 1 7868 0544 7 PDF eBook ISBN 978 1 7868 0546 1 Kindle eBook ISBN 978 1 7868 0545 4 EPUB eBook This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental standards of the country of origin. Typeset by Stanford DTP Services, Northampton, England Contents Introduction: The Situationist International in Critical Perspective 1 Alastair Hemmens and Gabriel Zacarias PART I: KEY CONTEXTS 1 Debord’s Reading of Marx, Lukács and Wittfogel: A Look at the Archives 19 Anselm Jappe 2 The Unsurpassable: Dada, Surrealism and the Situationist International 27 Krzysztof Fijalkowski 3 Lettrism 43 Fabrice Flahutez 4 The Situationists, Hegel and Hegelian Marxism in France 51 Tom Bunyard 5 The Situationist International and the Rediscovery of the Revolutionary Workers’ Movement 71 Anthony Hayes 6 The Shadow Cast by the Situationist International on May ’68 94 Anna Trespeuch-Berthelot 7 The Situationists’ Anti-colonialism: An Internationalist Perspective 103 Sophie Dolto and Nedjib Sidi Moussa 8 Gender and Sexuality in the Situationist International 118 Ruth Baumeister 9 Revolutionary Romanticism in the Twentieth Century: Surrealists and Situationists 138 Michael Löwy vi The Situationist International PART II: KEY CONCEPTS 10 The Spectacle 149 Alastair Hemmens and Gabriel Zacarias 11 The Constructed Situation 168 Gabriel Zacarias 12 Unitary Urbanism: Three Psychogeographic Imaginaries 183 Craig Buckley 13 The Abolition of Alienated Labour 201 Alastair Hemmens 14 Détournement in Language and the Visual Arts 214 Gabriel Zacarias 15 The Situationists’ Revolution of Everyday Life 236 Michael E. Gardiner 16 Radical Subjectivity: Considered in its Psychological, Economic, Political, Sexual and, Notably, Philosophical Aspects 252 Alastair Hemmens 17 The ‘Realisation of Philosophy’ 270 Tom Bunyard 18 Recuperation 281 Patrick Marcolini 19 Internationalism 290 Bertrand Cochard Bibliography 301 Notes on Contributors 310 Index 314 Introduction: The Situationist International in Critical Perspective Alastair Hemmens and Gabriel Zacarias The central premise of the current book is that a radical shift in our understanding of the history and theory of the Situationist International (1957–72) is under way. For a very long time, the historical details and even the very content of Situationist activity remained poorly under- stood and something of a mystery. The Situationist International (SI) was a fringe subject that, thanks to its marginal status, retained an aura of esoterism and mythos that occasionally drew the interest of certain artists and political activists on the far left who looked to it for inspiration. Most famously, it was whispered, that the group had predicted, or at least been a major source of inspiration for, the May ’68 student uprisings in France. Others rumoured that the group was more of an extremist avant- garde or political cult that purged its members for a lack of ideological purity. No term perhaps embodies better such misunderstanding and half- truths than the history of ‘Situationism’. The Situationists anticipated the emergence of the term in the 1950s and gave it an entirely negative defini- tion. It was, they said, a ‘word without meaning’: ‘There is no such thing as Situationism, a term which would signify a doctrinal interpretation of existing facts.’1 Indeed, the very notion of ‘Situationism’, the Situation- ists wrote, is ‘evidently conceived by anti-Situationists’.2 The Situationists wanted no part, in a direct criticism of many contemporary Marxist groups and previous avant-gardes, in the development of an ideology that demanded uncritical adherence and conceptual narrowness. Later, in the early 1960s, the term ‘Situationism’ became associated, equally negatively, with attempts by artists within the SI (who were soon after excluded), to hitch their careers to the development of the Situationist International as another moment in the history of aesthetics. Such attempts were put down with the phrase: ‘There is no such thing as Situationism, nor a Situ- ationist work of art.’3 2 The Situationist International However, although the Situationists themselves rejected ‘Situationism’, the use of the term became almost inevitable after 1968 when it came to be associated with the most radical tendencies within contemporary youth counterculture and political contestation. For those students who had taken part in May ’68, and indeed anyone influenced by the ‘events’, a ‘Situationist’ was simply someone, anyone, who rejected all authority (but without being an anarchist), and who criticised commodity society (but without being a Marxist). ‘Situationism’ appeared, to the uninitiated, to be a kind of new political position between these two traditional left-wing tendencies. The fact that the Situationists had originally emerged from the artistic avant-garde, and in some cases perhaps that it was an actual revo- lutionary organisation with its own history, was largely unknown to them. Equally, when, several decades later, the group’s roots in the artistic avant- garde came to light, ‘Situationism’ was mistakenly understood as another ‘-ism’ in the history of art, like Dadaism or Surrealism. The Situationists, as such, were simply acclaimed as the very last avant-garde, while the ‘political’ and ‘theoretical’ critique of commodity society was, for the most part, marginalised or ignored. Nevertheless, as the Situationists’ texts have become more widely available, in both French and a variety of other languages, Situationist theory and practice has gradually come to be seen as far richer and more profound than originally thought. It can no longer be simply pigeonholed as another ‘-ism’ in the history of art nor as a mere expression of 1960s youth contestation. Guy Debord’s The Society of the Spectacle (1967), in particular, has increasingly come to be regarded as an important work of critical theory in its own right. ‘Situationism’, which could perhaps be understood today as the history of misunderstandings and misappro- priations that have been heaped upon the SI, seems to be on its way out. We might even suggest that, although the battle is by no means over, the Situationists may yet survive ‘Situationism’. Moreover, we could say, with some confidence, that we have learned more about the SI in the first two decades of this century than we ever did in the latter half of the twentieth. The problem remains, however, that this new mass of knowledge and the critical interest that comes with it, as welcome as it may be, remains diffuse and uncoordinated. Indeed, there are few fields of research that have produced such differing opinions and been undertaken on such an independent basis by researchers in such a variety of fields. Our objective in this book is to bring a balanced perspective to the SI that may provide the basis for a more complete understanding and, ideally, greater consensus Introduction 3 on how to move forward. In so doing, we hope to present a new under- standing of the Situationists, to reconsider the SI critically, in a manner that both breaks with some of the misconceptions of the past, such as the reductive understanding of the ‘Spectacle’ as a mere critique of the media, and that addresses specific issues, such as race and gender, which were often previously neglected. In order to demonstrate that such a goal is, indeed, a necessity, however, we must delve deeper into the history of the SI and its critical reception. * * * The Situationist International was founded in 1957 by a small and het- erogeneous group of European artists based mostly in Paris. Its review, Internationale situationniste, published from 1957 to 1969, became the main organ for the diffusion of its revolutionary ideas and practices. The Situationist International, although at first formed mainly of artists, was from the very start concerned with the radical critique of capitalist society and the development of proletarian revolution. Art, rather than an end in itself, was to be ‘superseded’, to be abolished as a separate activity and integrated into the totality of everyday life. Later, the artistic dimension became incorporated into a more fully developed critical theory of capital- ist society as a form of total alienation, a world dominated by an economy that had become autonomous from qualitative human need, where humanity no longer had control over its own creative powers and that, through consumerism, which artificially expanded what was considered ‘necessary’, prevented the producers from freeing themselves of work. Perhaps most importantly of all, the Situationists rejected the authori- tarianism of the various workers’ states, parties and unions in favour of wildcat strikes, workers’ councils and other forms of autonomous prole- tarian radicalism. The radicality of the Situationists’
Load more

Recommended publications
  • The Game of War, MW-Spring 2008
    The Game of War: Debord as Strategist By McKenzie Wark for Issue 29 Sloth Spring 2008 The only member of the Situationist International to remain at its dissolution in 1972 was Guy Debord (1931–1994). He is often held to be synonymous with the movement, but anti- Debordist accounts rightly stress the role of others, such as Asger Jorn (1914–1973) or Constant Nieuwenhuys (1920–2005) who both left the movement as it headed out of its “aesthetic” phase towards its ostensibly more “political” one. Take, for example, Constant’s extraordinary New Babylon project, which he began while a member of the Situationist International and continued independently after separating from it. Constant imagined an entirely new landscape for the earth, one devoted entirely to play. But New Babylon is a landscape that began from the premise that the transition to this new landscape is a secondary problem. Play is one of the key categories of Situationist thought and practice, but would it really be possible to bring this new landscape for play into being entirely by means of play itself? This is the locus where the work of Constant and Debord might be brought back into some kind of relation to each other, despite their personal and organizational estrangement in 1960. Constant offered the kinds of landscape that the Situationists experiments might conceivably bring about. It was Debord who proposed an architecture for investigating the strategic potential escaping from the existing landscape of overdeveloped or spectacular society. Between the two possibilities lies the situation. Debord is best known as the author of The Society of the Spectacle (1967), but in many ways it is not quite a representative text.
    [Show full text]
  • Cosmonauts of the Future: Texts from the Situationist
    COSMONAUTS OF THE FUTURE Texts from The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 COSMONAUTS OF THE FUTURE 2 COSMONAUTS OF THE FUTURE Texts from the Situationist Movement in Scandinavia and Elsewhere 3 COSMONAUTS OF THE FUTURE TEXTS FROM THE SITUATIONIST MOVEMENT IN SCANDINAVIA AND ELSEWHERE Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen COSMONAUTS OF THE FUTURE Published 2015 by Nebula in association with Autonomedia Nebula Autonomedia TEXTS FROM THE SITUATIONIST Læssøegade 3,4 PO Box 568, Williamsburgh Station DK-2200 Copenhagen Brooklyn, NY 11211-0568 Denmark USA MOVEMENT IN SCANDINAVIA www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] AND ELSEWHERE Tel/Fax: 718-963-2603 ISBN 978-87-993651-8-0 ISBN 978-1-57027-304-9 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Translators: Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Fabian Tompsett, Jakob Jakobsen | Copyeditor: Marina Mikkel Bolt Rasmussen Vishmidt | Proofreading: Danny Hayward | Design: Åse Eg |Printed by: Naryana Press in 1,200 copies & Jakob Jakobsen Thanks to: Jacqueline de Jong, Lis Zwick, Ulla Borchenius, Fabian Tompsett, Howard Slater, Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Danny Hayward, Marina Vishmidt, Stevphen Shukaitis, Jim Fleming, Mathias Kokholm, Lukas Haberkorn, Keith Towndrow, Åse Eg and Infopool (www.scansitu.antipool.org.uk) All texts by Jorn are © Donation Jorn, Silkeborg Asger Jorn: “Luck and Change”, “The Natural Order” and “Value and Economy”. Reprinted by permission of the publishers from The Natural Order and Other Texts translated by Peter Shield (Farnham: Ashgate, 2002), pp. 9-46, 121-146, 235-245, 248-263.
    [Show full text]
  • The Interventions of the Situationist International and Gordon Matta-Clark
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Potential of the City: The Interventions of The Situationist International and Gordon Matta-Clark A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Art History, Theory, and Criticism by Brian James Schumacher Committee in charge: Professor Norman Bryson, Chair Professor Teddy Cruz Professor Grant Kester Professor John Welchman Professor Marcel Henaff 2008 The Thesis of Brian James Schumacher is approved and it is acceptable in quality and form for publication on microfilm: __________________________________________________________ __________________________________________________________ __________________________________________________________ __________________________________________________________ __________________________________________________________ Chair University of California, San Diego 2008 iii EPIGRAPH The situation is made to be lived by its constructors. Guy Debord Each building generates its own unique situation. Gordon Matta-Clark iv TABLE OF CONTENTS Signature Page…………………………………………………………… iii Epigraph…………………………………………………………………. iv Table of Contents………………………………………………………... v Abstract………………………………………………………………….. vi Chapter 1: Conditions of the City……………………………………….. 1 Chapter 2: Tactics of Resistance………………………………………… 15 Conclusion………………………………………………………………. 31 Notes…………………………………………………………………….. 33 Bibliography…………………………………………………………….. 39 v ABSTRACT OF THE THESIS Potential of the City: The Interventions of The Situationist International and
    [Show full text]
  • How Language Looks: on Asger Jorn and Noël Arnaud's La Langue Verte*
    How Language Looks: On Asger Jorn and No ël Arnaud’s La Langue verte* STEVEN HARRIS In November 1968, the Paris publisher Jean-Jacques Pauvert brought out Asger Jorn and Noël Arnaud’s La Langue verte et la cuite , an event accompanied by a banquet for 2,000 at a Danish restaurant in Paris, and a considerable response from the press, though the book has largely dropped from view since. 1 Initially titled La Langue crue et la cuite , the book was written in French by artist Asger Jorn, founding member of Cobra and of the Situationist International, and revised by Arnaud, member of the Surrealist “Main à plume” group in occupied Paris, founding member of the Revolutionary Surrealist group in postwar Paris (with which Jorn was also involved), and later regent in the Collège de ’Pataphysique. 2 Jorn, in addition to writing the text, also chose the illustrations, while Arnaud added sections of his own and reordered the material in collaboration with Jorn. It is thus the collective labor of two individuals who had first met in Paris in 1946, and who were both involved in the Revolutionary Surrealist group, a splinter group of Communist persuasion that had seceded from the main body of the Surrealist group shortly before the opening of its exhibition Le Surréalisme en 1947 , at the Galerie Maeght. If Cobra was very much ori - ented against Arnaud when it was first formed in 1948, the paths of the two men crossed numerous times in subsequent years. Jorn turned to Arnaud as a trusted friend who was in in sympathy with his aims, who corrected Jorn’s rather casual French, and who in general was willing to lend a hand to the enterprise.
    [Show full text]
  • HUMAN ANIMALS the ART of COBRA COBRA CONTEMPORARY LEGACY
    HUMAN ANIMALS THe ART OF COBRA COBRA CONTEMPORARY LEGACY September 15-November 20, 2016 University Museum of Contemporary Art The Cobra Belgium, included twice as many works as the first and displayed a more mature and sophisticated side of Cobra. The show included Movement several well-known artists like Alberto Giacometti, Joan Miró and Wifredo Lam, and thus demonstrated Cobra’s acceptance into the wider artistic community. Despite this, the show’s unfavorable reviews and the onset of tuberculosis in Jorn and Dotremont forced the group Cobra was formed in Paris in 1948 as an international avant-garde to split up and cease to exist as a coherent, international network. movement that united artists and poets of three cities —Copenhagen, Brussels, and Amsterdam—by Christian Dotremont (Belgian, 1922– In the 1950s, artists all around Europe searched for ways to confront 1979), Joseph Noiret (Belgian, 1927–2012), Asger Jorn (Danish, 1914– the traumatic history and legacy of the Second World War. Artists 1973), Karel Appel (Dutch, 1921–2006), Constant (Dutch, 1920–2005), focused internationally on new forms of expressive abstraction in and Corneille (Dutch, 1922–2010). The Cobra artists were inspired paint as well as other materials. Interest was revived in movements by the idea of the “human animal,” a playful or perhaps satirical like German Expressionism, formerly considered “degenerate” under representation of people’s animalistic instincts and desires, while Fascism. Historical Expressionism and Surrealism were the major evoking the symbolic relationship between humans, animals, and the inspirations for Cobra. Abstract Expressionism in the United States natural environment. The group chose the snake as a totem because was a parallel contemporary movement, but Cobra artists differed of the animal’s universal presence as a mythic and religious symbol.
    [Show full text]
  • The History of Unitary Urbanism and Psychogeography at the Turn of the Sixties
    The History of Unitary Urbanism and Psychogeography at the Turn of the Sixties Ewen Chardronnet 2003 Contents Examples and Comments of Contemporary Psychogeography (lecture notes for a conference in Riga Art + Communication Festival, May 2003) 3 2 Examples and Comments of Contemporary Psychogeography (lecture notes for a conference in Riga Art + Communication Festival, May 2003) The topic of our panel discussion this afternoon is about “local media, maps and psychogeography”. I think it’s necessary to come back first to a brief history of psychogeography, Unitary Urbanism and the Situationnist International at the turn of the sixties. The end of the fifties and the beginning ofthe sixties were a period of acceleration in urbanism of European and world cities. In Paris, this period is the explosion of what politicians and urban planners called “new cities”. Paris was exploding outside its “ring road” and cities such as Sarcelles were created with totally new urban models. There was a strong feeling in that time that the cities were losing their human dimensions. I will first try to show how this acceleration of modernization of urban society had an influence on the tactics of the SI as an avant-garde concerned with the uniformization of society through urbanism, mass media, and the dichotomy of work and leisure. I will especially focus on Unitary Urbanism and 4 years of intense activities (‘58-‘61) that finally culminate by totally abandoning these theories. We will then discuss actual initiatives that use tactical medias in the streets and how this is link to the new rise of psychogeography and the necessity of reclaiming the streets.
    [Show full text]
  • Alternative Spaces in Post-Socialist Prague
    Michaela Pixová: Struggle for the Right to the City: Alternative Spaces in Post-Socialist Prague UNIVERZITA KARLOVA V PRAZE Přírodovědecká fakulta Katedra sociální geografie a regionálního rozvoje Michaela Pixová STRUGGLE FOR THE RIGHT TO THE CITY: ALTERNATIVE SPACES IN POST-SOCIALIST PRAGUE BOJ O PRÁVO NA MĚSTO: ALTERNATIVNÍ PROSTORY V POST-SOCIALISTICKÉ PRAZE Ph.D Thesis The Supervisor: Doc. RNDr. Luděk Sýkora, Ph.D. Prague 2012 Michaela Pixová: Struggle for the Right to the City: Alternative Spaces in Post-Socialist Prague Declaration I declare that this dissertation is my original work conducted under the supervision of Doc. RNDr. Luděk Sýkora, Ph.D. All sources used in the dissertation are indicated by special reference in the text and no part of the dissertation has been submitted for any other degree. Any views expressed in the dissertation are those of the author and in no way represent those of Charles University in Prague. The dissertation has not been presented to any other University for examination either in Czechia or overseas. In Prague, July 30, 2012 ……….…………………… Signature i Michaela Pixová: Struggle for the Right to the City: Alternative Spaces in Post-Socialist Prague Acknowledgement This dissertation could not have been carried out without the help and support of many people. To name all of them would require a long list, and therefore I would like to acknowledge in particular the ones whose help was indispensable to my research and for the production of this thesis. Most of my thanks go obviously to my supervisor, Luděk Sýkora, who not only provided my research with the much needed expertise, but also featured as an invaluable source of inspiration, encouragement and mental support.
    [Show full text]
  • Lynchian Cognitive Mapping and Situationist Psychogeography
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1-1-2006 A critical and historical case study of experience design : Lynchian cognitive mapping and Situationist psychogeography Derek Cori Wallen Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Recommended Citation Wallen, Derek Cori, "A critical and historical case study of experience design : Lynchian cognitive mapping and Situationist psychogeography" (2006). Retrospective Theses and Dissertations. 19068. https://lib.dr.iastate.edu/rtd/19068 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. A critical and historical case study of experience design: Lynchian cognitive mapping and Situationist psychogeography by Derek Cori Wallen A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS Major: Graphic Design Program of Study Committee: Paula J. Curran, Major Professor Sunghyun Kang Michael J. Golec Carl W. Roberts Iowa State University Ames, Iowa 2006 Copyright ©Derek Cori Wallen, 2006. All rights reserved. 11 Graduate College Iowa State University This is to certify that the master's thesis of Derek Cori Wallen has met the thesis requirements of Iowa State University Signatures have been redacted for privacy 111 TABLE OF CONTENTS LIST OF FIGURES iv LIST OF TABLES v ACKNOWLEDGEMENTS vi ABSTRACT vii CHAPTER 1.
    [Show full text]
  • JACQUELINE DE JONG Born 1939 in Hengelo, Netherlands Lives And
    JACQUELINE DE JONG Born 1939 in Hengelo, Netherlands Lives and works in Amsterdam and in the Bourbonnais, France Solo Exhibitions 2021 Jacqueline de Jong, MOSTYN Contemporary Art Gallery, Wales (upcoming); touring to WIELS Contemporary Art Centre, Brussels Solo exhibition, Treize, Paris (upcoming) 2020 Jacqueline de Jong, Galerie Rodolphe Janssen, Brussels 2019-20 Resilience(s), Pippy Houldsworth Gallery, London Sprouted Behaviour, Eenwerk Gallery, Amsterdam Pinball Wizard: the Work and Life of Jacqueline de Jong, Stedelijk Museum, Amsterdam Billiards, 1976-78, Chateau Shatto, Los Angeles 2018-19 Jacqueline de Jong & The Situationist Times: Same Player Shoots Again!, Malmö Konsthall, Malmö: touring to Museum Jorn, Silkeborg 2018 Jacqueline de Jong, Les Abattoirs, Toulouse 2017 Imagination à Rebours, Dürst Britt & Mayhew, The Hague Imaginary Disobedience, Château Shatto, Los Angeles Potato Blues, onestar press, Paris 2016 The Case of the Ascetic Satyr, Galerie Clemens Thimme, Karlsruhe 2015 Trains, Jacqueline de Jong & Celine Manz, Sociëteit De Kring, Amsterdam 2014 Art Traverse, Gemeentehuis de Bilt, Bilthoven Pommes de Jong, Gallery Clemens Thimme, Karlsruhe WAR: The imminent conflict (again), Gallery Suzanne Biederberg, Amsterdam 2012 All the King’s Horses, Moderna Museet, Stockholm Yale University Beinecke Rare Books and manuscripts library, New Haven, Connecticut Jacqueline de Jong: Life and Times…Recent Work, Gallery Suzanne Biederberg Jacqueline de Jong: The Situationist Times 1962-1967, Gallery Boo-Hooray, New York, Connecticut
    [Show full text]
  • MAMCO DP 27Fev 2018 UK 1
    M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M Die Welt als Labyrinth Art & Entertainment New Images Opening : Tuesday February 27 2018 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva � � � � � � � p. 3 Press Release Die Welt als Labyrinth (3rd floor) p. 5 Introduction p. 6 Gil Joseph Wolman p. 8 Letterism and the letterist International p. 9 ”Cavern of Antimatter” / Modifications p. 11 SPUR / Situationist Times p. 12 Destruction of the RSG-6 p. 15 Ralph Rumney p.16 Movement for an imaginist Bauhaus Alba’s experimental laboratory p.18 Art & Entertainment (2nd floor) p. 20 New Images (1st floor) Other Exhibition p. 22 A Collection of Spaces p.24 L’ Appartement p.26 Informations and Partners M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M � � � � � � � � � � � � � Die Welt als Labyrinth Art & Entertainment Nouvelles images Opening : Tuesday February 27 2018 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva Press Conference Tuesday February 27 2018 – 11am This spring, MAMCO has decided to turn aimed at art criticism (Piet de Groof’s action back to Letterism and the Situationist Inter- with Debord and Wyckaert against the gene- national, two artistic movements from Paris ral assembly of the AICA in Brussels), art mar- which occupied a very special place on the ket galleries (Jorn’s and Gallizio’s shows political horizon of May 1968.
    [Show full text]
  • Libertarian Socialism
    Libertarian Socialism PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Sun, 12 Aug 2012 19:52:27 UTC Contents Articles Libertarian socialism 1 The Venus Project 37 The Zeitgeist Movement 39 References Article Sources and Contributors 42 Image Sources, Licenses and Contributors 43 Article Licenses License 44 Libertarian socialism 1 Libertarian socialism Libertarian socialism (sometimes called social anarchism,[1][2] and sometimes left libertarianism)[3][4] is a group of political philosophies that promote a non-hierarchical, non-bureaucratic society without private property in the means of production. Libertarian socialists believe in converting present-day private productive property into the commons or public goods, while retaining respect for personal property[5]. Libertarian socialism is opposed to coercive forms of social organization. It promotes free association in place of government and opposes the social relations of capitalism, such as wage labor.[6] The term libertarian socialism is used by some socialists to differentiate their philosophy from state socialism[7][8] or by some as a synonym for left anarchism.[1][2][9] Adherents of libertarian socialism assert that a society based on freedom and equality can be achieved through abolishing authoritarian institutions that control certain means of production and subordinate the majority to an owning class or political and economic elite.[10] Libertarian socialism also constitutes a tendency of thought that
    [Show full text]
  • Lynch Debord: About Two Psychogeographies1
    Lynch Debord: About Two Psychogeographies1 Denis Wood Independent Scholar / Raleigh / NC / USA Abstract Psychogeography emerged entirely independently in Paris in the 1950s and in the Boston area in the 1950s and 1960s, in the wildly disparate practices of the Situationists and of planners and geographers. At the same time that Guy Debord was creating psychogeography in Paris, MIT planning professor Kevin Lynch was laying the groundwork for what at Clark University in the late 1960s became psychogeography for David Stea and his students. Both practices were equally committed to the development of an objective description of the relationship between the urban environment and the psychic life of individuals, both depended heavily on walking as a method, and both produced maps that have become iconic. Keywords: psychogeography, Situationists, Guy Debord, Kevin Lynch, David Stea, Clark University Re´sume´ La psychoge´ographie est ne´e de manie`re comple`tement inde´pendante a` Paris dans les anne´es 1950 ainsi que dans la re´gion de Boston dans les anne´es 1950 et 1960, avec les pratiques tre`s disparates des situationnistes, et de planificateurs et de ge´ographes. En meˆme temps que Guy Debord cre´ait la psychoge´ographie a` Paris, Kevin Lynch, professeur en urbanisation au MIT, e´tablissait les bases de ce qui allait devenir la psychoge´ographie pour David Stea et ses e´tudiants de l’Universite´ Clark, vers la fin des anne´es 1960. Ces me´thodes cherchaient toutes les deux a` de´crire objectivement la relation entre l’environnement urbain et la vie psychique des gens.
    [Show full text]