The Society of the Spectacle 20 Years Later: A Discussion

Berman, Russell A.; Pan, David; Piccone, Paul

doi:10.3817/1290086081

Cited by 3 publications

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“…Criticisms of Debord's pessimism and even paranoia became particularly common after the publication of his admittedly much bleaker Comments on the Society of the Spectacle (1990). See, for example, Berman et al (1990). 8.…”

Section: Discussionmentioning

confidence: 99%

‘Old Paris Is No More’: Geographies of Spectacle and Anti‐Spectacle

Pinder

2000

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The term ‘spectacle’ has played an important role in recentcritical discussions of vision and visuality. In human geography it has often been used to designate new forms of capitalist urban development associated with display and show. This paper examines aspects of the term by addressing the critique of the spectacle developed by the situationist Guy Debord. It situates his writings on the subject back into the context of his engagements with the modern city between the 1950s and 1970s, especially in Paris, where hespent much of his life. In particular, it reads these writings in terms both of his bleak view of urban change and alienation under capitalism and of the ‘glimmers of light’ that he found in ‘the setting sun of this city.’ Debord's attachment to certain urban sites within this critique of urban spectacle was often nostalgic. Yet it can also be understood as part of his concern with challenging the ways in which urban spaces were being reconstructed, and as opening up gaps or cracks for thinking about ‘counter‐sites’ and points of political intervention.

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Section: Discussionmentioning

confidence: 99%

‘Old Paris Is No More’: Geographies of Spectacle and Anti‐Spectacle

Pinder

2000

Antipode

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“…Guy Debord's thesis about the "society of the spectacle" (2006), for example, did much to dampen the critical thrust of the realism that documentary film and photography seemed aligned with. Debord's thesis focused on the ideological and illusionistic dimensions of contemporary society, effectively (if implicitly) accusing all camera-based practices of objectifying the world and superficially portraying appearances as if they were contiguous with reality (for a rather devastating critique of Debord, see Berman, Pan, and Piccone 1990). In short, photorealism in moving and still images was treated as suspect by those on the left, even though socialist publications continued to use such images and, indeed, even model their images on mainstream pictorial conventions:…”

Section: Worker Film and Photographymentioning

confidence: 99%

Seeing and envisioning: camera-based practice, democratic praxis, and socially engaged arts in Toronto

Erickson¹

2021

Preprint

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This project explores the varied ways cameras have become integrated into contemporary socially engaged arts practices. The emergent, participatory, and inclusive characteristics of these diverse practices are increasingly common in contemporary art and culture, with cooperative processes, community activism, formal experimentation, and public involvement being regarded, now more than ever, as legitimate strategies for developing artistic form and content. This project considers the innovative uses of cameras in these practices, arguing that such uses are not simply convenient or instrumental, but are often critical mediations between visual realism and cultural expressivity. The dissertation begins to address a gap in research on material practices in the cultural production of art by elaborating a theory of socially engaged camera arts. Drawn from ethnographic research in the Toronto community arts/socially engaged arts ecology, this theory begins to describe how camera practices seem to be moving beyond traditional image production practices in order to support and even help envision broader repertoires of practice in processes of social and cultural action. The dissertation develops three interrelated theoretical frames - expansion, organization and pedagogy - to insist on the key place of socially engaged camera arts, and camera arts in general, in the iterative, activist-led revitalization of community cultural infrastructures.

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Heritage spectacles: the case of Amphipolis excavations during the Greek economic crisis

Fouseki

Dragouni

2017

International Journal of Heritage Studies

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The Society of the Spectacle 20 Years Later: A Discussion

Cited by 3 publications

References 0 publications

‘Old Paris Is No More’: Geographies of Spectacle and Anti‐Spectacle

‘Old Paris Is No More’: Geographies of Spectacle and Anti‐Spectacle

Seeing and envisioning: camera-based practice, democratic praxis, and socially engaged arts in Toronto

Heritage spectacles: the case of Amphipolis excavations during the Greek economic crisis

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