Tag Archives: Guy Debord

Debord: Negation & Consumption in Culture

[SYMPOSIUM] BOOK CLUB
#22 Debord: Negation & Consumption in Culture

Friday, 8 December 2017, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
Facilitated by Aristotelis Nikolaidis
Suggested donation £2, booking via Eventbrite

[SYMPOSIUM] #22 Debord: Negation and Consumption in the Cultural Sphere. Flyer by Aristotelis Nikolaidis.
[SYMPOSIUM] #22 Debord: Negation and Consumption in the Cultural Sphere. Flyer by Aristotelis Nikolaidis.

In December we’re joining Aristotelis Nikolaidis to discuss Negation and Consumption in the Cultural Sphere, the eighth chapter of Guy Debord’s 1967 book The Society of the Spectacle.

DOWNLOAD Debord, Guy (1967/1995) Negation and Consumption in the Cultural Sphere, from his The Society of the Spectacle, transl. Donald Nicholson-Smith, New York: Zone Books, pp. 129-147.

Guy Debord’s The Society of the Spectacle is a landmark text of the Situationist International, and its most influential one together with Raoul Vaneigem’s The Revolution of Everyday Life. Originally published in 1967, it has been related to the radical heritage of the May 1968 uprising in France and has been in print as well as enjoyed new translations and editions to this day. Debord revisited it in his Comments on the Society of the Spectacle in 1988.

The Situationist International offered a radical critique of advanced capitalist societies, manifesting the fusion of art and politics and the prominence of everyday life as a field of analysis and intervention. It combined elements from Marxism and anarchism, and while being separate from both it developed in a libertarian direction and in opposition to the orthodox Marxist-Leninist canon of the time. The Situationists have been criticised, among other things for vanguard cultural elitism, as well as praised, among other things for contributing to the renewal of radical social theory and practice.

In The Society of the Spectacle Debord both draws and reflects upon Marx’s original analysis of the capitalist mode of production, including key concepts such as commodity fetishism and alienation. The result of such an intellectual endeavour is the production of an original perspective: the concept of the spectacle, a social relationship between people which is mediated by images, suggests a society where genuine activity is replaced by representation and social life is colonised by commodities. In this respect, the emerging critique promptly focuses on the key role of media culture and consumerism in late capitalism; but, unlike most of the contemporary postmodernist paradigm, it maintains a radical edge rooted in class consciousness and struggle.

Chapter 8, titled Negation and Consumption in the Cultural Sphere, emerges as a potentially useful reading with regard to art practice and theory on the basis of two reasons. On the one hand, it is the part of the book where Debord is principally concerned with art’s position in the field of culture; the provided discussion addresses the autonomy of culture and its connection to history in a class-based society, as well as art’s relation to language and communication and its function as a form of dialogue and a practice.

On the other hand, the text constitutes a sophisticated polemic against conventional social theory as well as a fierce defence of the unity between theory and practice; and its argument culminates in the discussion of détournement, a concept signifying the language of anti-ideology and subversive action. Perhaps it is in this respect that Debord echoes Marx most clearly, and his infamous eleventh thesis on Feuerbach more particularly: the point is not just to interpret the world, but to change it.

Aristotelis Nikolaidis studied sociology, completed a PhD in media and communications at Goldsmiths and has been involved in free and self-organised language programmes for migrants and refugees. He is teaching and researching in the field of social theory and media studies from a critical perspective, which is to say that he is at odds with marketization, careerism and precarious labour conditions in the university.

Questions

Why does Debord argue that ‘art’s declaration of independence is the beginning of the end of art’? (Thesis 186, p. 133)

How does Debord define avant-garde art? And how may the contrasting examples of Dada and Surrealism inform our understanding of the transcendent potential of art or lack thereof?

Why is conventional sociological theory criticised for offering ‘a spectacular critique of the spectacle’? (Thesis 196, p. 138)

Why does Debord argue that critical theory is inconceivable independently of a rigorous practice? (Thesis 203, p. 143)

In what ways may the concept of the détournement empower a radical critique and practice? How may it be related to contemporary practices such as culture jamming, for example in the case of the Adbusters, or to the work of conceptual artists such as Barbara Kruger?

Suggested further reading

Clark, John (2015) The Society of the Spectacle Reconsidered: Good Marx or Bad Marx?, Fifth Estate, 393

Cooper, Sam (2017) The Situationist International in Britain: Modernism, Surrealism, and the Avant-Gardes, New York: Routledge

Debord, Guy (1988/1988) Comments on the Society of the Spectacle, London: Verso

Eagles, Julian (2017) Marxism, Anarchism and the Situationists’ Theory of Revolution, Critical Sociology, 43(1): 13-36

Gray, Christopher (1974/1998) Leaving the 20th Century: The Incomplete Work of the Situationist International, London: Rebel Press

Kellner, Douglas (2003) Media Spectacle, London: Routledge

Knabb, Ken (ed.) (2006) Situationist International Anthology, Revised and Expanded Edition, transl. Ken Knabb, Berkeley: Bureau of Public Secrets

Vaneigem, Raoul (1967/2003) The Revolution of Everyday Life, transl. Donald Nicholson-Smith, London: Rebel Press

Wark, McKenzie (2011) The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International, London: Verso

Separation Perfected

1 Creekside. Deptford Art & Gentrification Walk Pt.2, 29 Oct 2018.
1 Creekside. Deptford Art & Gentrification Walk Pt.2, 29 Oct 2018.
Frank Magennis talking about Deptford Cinema. Photo by Darshana Vora.
Frank Magennis talking about Deptford Cinema. Deptford Art & Gentrification Walk Pt.2, 29 Oct 2018. Photo by Darshana Vora.

Many thanks to everyone who came along and contributed to our events in September.

A very special thanks to all the participants, artists, activists, venues, galleries and studios that we visited on the Deptford Art & Gentrification Walk. Many thanks to the campaigners, to everyone who helped out and to everyone we encountered along the way.

Very excited to be gearing up for the second independent Critical Theory in Contemporary Art Practice course on Monday.

Our next event of the season is the book club on 12 October with a discussion on the Culmination of Separation, the first chapter of Guy Debord’s book the Society of the Spectacle. The discussion will be facilitated by Penelope Kupfer and Darshana Vora.

Our first quarterly meeting is on Friday, 26 October 6:30-8:30pm at Larc and everyone is welcome to attend and contribute to our plans for the future. We will discuss the book club, the proposal for a research and reading group on radical pedagogy, alternative art education and self-organisation, a new alternative studio programme and a new series of feedback sessions.

Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou. Critical Theory in Contemporary Art Practice [ART&CRITIQUE] COURSE[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice
Mondays, 8 Oct–3 Dec 2018, 6:30pm-9pm & Sat 27 Oct, 2:30pm-5pm
Deptford Lounge, 9 Giffin Street, London SE8 4RJ
Tutor Sophia Kosmaoglou
Booking via Eventbrite

Jenny Holzer [1993] Alienation produces eccentrics or revolutionaries. Marquees series.[SYMPOSIUM] BOOK CLUB
Debord: The Culmination of Separation
Friday, 12 October 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Penelope Kupfer & Darshana Vora
Suggested donation £2, booking link coming soon

Open Meeting[ART&CRITIQUE] MEETING
Quarterly Meeting
Friday, 26 October 2018, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome

IMAGE CREDITS Nicolas Copernicus (1543) Heliocentrism. De revolutionibus Orbium coelestium, libri IV. Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.[OPPORTUNITIES & ANNOUNCEMENTS]
October 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please use the contact form to send us the details.

IMAGE CREDITS
Jenny Holzer [1993] ‘Alienation produces eccentrics or revolutionaries’. Marquees series.
Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.

Debord: The Culmination of Separation

[SYMPOSIUM] BOOK CLUB
#30 Debord: The Culmination of Separation

Friday, 12 October 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East

Facilitated by Penelope Kupfer & Darshana Vora
Suggested donation £2, booking via Eventbrite

In October we’re joining Penelope Kupfer and Darshana Vora to discuss The Culmination of Separation (or Separation Perfected), the first chapter of Guy Debord’s Society of the Spectacle, first published in 1967. Continue reading Debord: The Culmination of Separation

Happy New Year!

First Alternative Education Open-Day. 1 Oct 2017, SET Space, London. Photo School of the Damned.ARTCRAWL#11 Hampstead to Finsbury Park, June 2017. Photo Cristina Sousa-Martínez.BOOKCLUB#19 Bishop Artificial Hells chaired by Renata Mindolo. Common Room, School of the Damned. Guest Projects 24 July 2017. Photo SOTD.First Alternative Education Open-Day. Oct 2017, SET Space, London. Photo Maria Christoforatou.Thanks to everybody who contributed to another venturesome year of free, autonomous, volunteer-run and self-organised alternative art education!

Thanks to everyone who came along to the discussions, crawls, workshops and meetings! Many thanks to everyone who chaired a book club, curated a crawl, facilitated a workshop or hosted an event. A special thanks to all the alternative art schools, organisations and individuals for the excellent meet-ups, exchanges and collaborations.

Many thanks to all those who coordinated events and venues, posted listings and promoted events, contributed materials and tools, attended meetings, complied minutes, carried out research, wrote proposals and summaries, made flyers and videos, did bookings and accounts, took photos, shared their feedback, set up, cleared up and did the washing up! Many thanks to everyone who donated, we’re almost breaking even thanks to your generosity. Thanks to everyone who supported the project by encouraging us, sharing, inviting friends and spreading the word.

Thanks to all who came along and contributed to a fascinating discussion on Guy Debord at the book club in December. A very special thanks to Aris Nikolaidis for chairing an excellent discussion.

In January we’re joining Neil Lamont to discuss Hypernormalisation, a 2016 film by Adam Curtis. Please book your place. We’ve just added more tickets, if they sell out please check back for cancellations.

See you next year! Let’s make it a good one x x x

Neil Lamont [2006] Apple billboard on Paris metro. Digital photograph.[SYMPOSIUM] BOOK CLUB
Adam Curtis: HyperNormalisation
Friday, 12 January 2018, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by
Neil Lamont
Suggested donation £2, booking via Eventbrite

Announcements & Opportunities[OPPORTUNITIES & ANNOUNCEMENTS]
January 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please send us the details.

IMAGE CREDITS
First Alternative Education Open-Day. 1 Oct 2017, SET Space, London. Photo School of the Damned.
ARTCRAWL#11 Hampstead to Finsbury Park, June 2017. Photo Cristina Sousa-Martínez.
BOOKCLUB#19 Bishop: Artificial Hells with Renata Mindolo. Guest Projects, 24 Jul 2017. Photo School of the Damned.
First Alternative Education Open-Day. 1 Oct 2017, SET Space, London. Photo Maria Christoforatou.
Neil Lamont [2006] Apple billboard on Paris metro. Digital photograph.

Negation / Consumption

J.R. Eyerman [1952] Audience at the opening-night screening of Bwana Devil, the first full-length colour 3-D movie. Paramount Theatre, Hollywood, 26 Nov 1952.
J.R. Eyerman [1952] Audience at the opening-night screening of Bwana Devil, the first full-length colour 3-D movie. Paramount Theatre, Hollywood, 26 Nov 1952.

We had a fascinating discussion on commitment and autonomy at the November book club on Adorno’s Commitment! Many thanks to all who joined and a special thanks to Nat Pimlott for facilitating the discussion.

We look forward to your company at the next book club, coming up on Friday, 8 December. This time we’re reading Negation and Consumption in the Cultural Sphere, the eighth chapter of Guy Debord’s 1967 book The Society of the Spectacle and discussing détournement with Aris Nikolaidis. For more information, to book your place and download the text please visit the page.

In August we visited Benedict Drew‘s exhibition The Trickle-Down Syndrome at the Whitechapel Gallery with students on the Critical Theory in Contemporary Art Practice course. The exhibition was a sprawling interconnected array of objects, banners, screens, cables and digital components. What is the Trickle-Down Syndrome? How does it relate to the infamous laissez faire economic theory? What are the throbbing fleshy forms and knobbly knotted forms represented in videos, banners and roughly-hewn objects? We spent a couple of hours viewing and discussing the exhibition and everyone was asked to write a 250-500 word review that evening for a workshop the next morning. Each review is written in a uniquely different style and approach, with a different interpretation of the exhibition. We were all very impressed by this outcome so we decided to share the results.

In January we’re discussing Adam Curtis’ 2016 film HyperNormalisation with Neil Lamont. Please book your place and view the film by following the links on the page. See you there!

J.R. Eyerman [1952] Audience at the opening-night screening of Bwana Devil, the first full-length colour 3-D movie. Paramount Theatre, Hollywood, 26 Nov 1952.[SYMPOSIUM] BOOK CLUB
Debord: Negation & Consumption in Culture
Friday, 8 December 2017, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Aristotelis Nikolaidis
Suggested donation £2, booking via Eventbrite

Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou.[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice
11 January —15 March 2018, 6pm—8:30pm
Chelsea College of Arts UAL 16 John Islip Street London SW1P 4JU
Tutor Sophia Kosmaoglou
Booking via UAL

Neil Lamont [2006] Apple billboard on Paris metro. Digital photograph.[SYMPOSIUM] BOOK CLUB
Adam Curtis: HyperNormalisation
Friday, 12 January 2018, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by
Neil Lamont
Suggested donation £2, booking via Eventbrite

Daniel Clowes [1991] End. Art School Confidential.[OPPORTUNITIES & ANNOUNCEMENTS]
DECEMBER 2017
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please send us the details.

IMAGE CREDITS
J.R. Eyerman [1952] Audience at the opening-night of Bwana Devil. Paramount Theatre, Hollywood, 26 Nov 1952.
Patrick Mimran [2004] Billboard Project, New York. Photo by Sophia Kosmaoglou.
Neil Lamont [2006] Apple billboard on Paris metro. Digital photograph.
Daniel Clowes [1991] Art School Confidential. Eightball #7, Nov 1991.

[SYMPOSIUM] BOOK CLUB

[SYMPOSIUM] BOOK CLUB

The SYMPOSIUM book club was a monthly open-access reading group for artists, researchers and anyone interested in the intersections between art practice and critical theory. Everyone was welcome to propose a text and facilitate the reading group.

Continue reading [SYMPOSIUM] BOOK CLUB