Quotes About Spectacle

We must destroy the Spectacle itself, the whole apparatus of the commodity society... We must abolish the pseudo-needs and false desires which the system manufactures daily in order to preserve its power.

Le spectacle est la reconstruction matérielle de l'illusion religieuse.

Partout où il y a représentation indépendante, le spectacle se reconstitue.

The images detached from every aspect of life merge into a common stream in which the unity of that life can no longer be recovered. Fragmented views of reality regroup themselves into a new unity as a separate pseudoworld that can only be looked at. The specialization of images of the world evolves into a world of autonomized images where even the deceivers are deceived. The spectacle is a concrete inversion of life, an autonomous movement of the nonliving.

Dans le monde réellement renversé, le vrai est un moment faux.

The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living.

system, as the advanced economic sector which directly shapes a growing multitude of image-objects, the spectacle is the main production of present-day society.

The spectacle is the epic poem of this struggle, a struggle that no fall of Troy can bring to an end. The spectacle does not sing of men and their arms, but of commodities and their passions.

The things the spectacle presents as eternal are based on change, and must change as their foundations change. The spectacle is totally dogmatic, yet it is incapable of arriving at any really solid dogma. Nothing stands still for it. This instability is the spectacle's natural condition, but it is completely contrary to its natural inclination.

El espectáculo en general, como inversión concreta de la vida, es el movimiento autónomo de lo no viviente

On ne peut opposer absraitement le spectacle et l'activité sociale effective.

Le but n'est rien, le développement est tout. Le spectacle ne veut en venir à rien d'autre qu'à lui-même.

Le spectacle est la principale production de la société actuelle.

The society of the spectacle began everywhere in coercion, deceit and blood, but it promised a happy path. It believed itself to be loved. Now it no longer says "What appears is good; what is good appears"; now it says simply "It is so".[

The fetishism of the commodity — the domination of society by "intangible as well as tangible things" — attains its ultimate fulfillment in the spectacle, where the real world is replaced by a selection of images which are projected above it, yet which at the same time succeed in making themselves regarded as the epitome of reality.

The present phase of total occupation of social life by the accumulated results of the economy leads to a generalized sliding of having into appearing, from which all actual "having" must draw its immediate prestige and its ultimate function.

The spectacle does not realize philosophy, it philosophizes reality.

The language of the spectacle consists of signs of the dominant system of production — signs which are at the same time the ultimate end-products of that system.

The spectacle does not realize philosophy, it philosophizes reality, reducing everyone's concrete life to a universe of speculation.

Conversely, real life is materially invaded by the contemplation of the spectacle, and ends up absorbing it and aligning itself with it.

A medida que a necessidade se encontra socialmente sonhada, o sonho se torna necessário. O espetáculo é o sonho mau da sociedade aprisionada, que só expressa afinal o seu desejo de dormir. O espetáculo é o guarda desse sono.

The spectacle is a permanent opium war designed to force people to equate goods with commodities and to equate satisfaction with a survival that expands according to its own laws. Consumable survival must constantly expand because it never ceases to include privation . If augmented survival never comes to a resolution, if there is no point where it might stop expanding this is because it is itself stuck in the realm of privation. It may gild poverty, but it cannot transcend it.

In the spectacle — the visual reflection of the ruling economic order — goals are nothing, development is everything. The spectacle aims at nothing other than itself.

Imprisoned in a flattened universe bounded by the screen of the spectacle that has enthralled him, the spectator knows no one but the fictitious speakers who subject him to a one-way monologue about their commodities and the politics of their commodities. The spectacle as a whole serves as his looking glass. What he sees there are dramatizations of illusory escapes from a universal autism.