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DEBORD, GUY-ERNEST
(1931-94)
[[French ]] [[political ]] activist, [[film]]-maker and, together with [[Vaneigem]], the principal theorist of [[situationism]].
[[Debord]] is best known for his ''[[Society of the Spectacle]]'' (1967) which, he remarked with some pride in 1993, remained in print almost continuously for twenty-five years, ahving been reprinted every eighteen motnhs (it is still in print).
The book, which anticipates many aspectsof the [[work ]] of [[Baudrillard]], describes in 221 numbered paragraphs the profound [[alienation]] in which the [[circulation ]] of [[image]]s has become more important than the accumulation of [[material ]] [[commodities]].
Like is no longer something to be lived, but a [[spectacle]] to be watched from a distance.
The spectacle is not merely a set of [[image]]s, but a [[social ]] [[relationship ]] between [[people ]] that is mediated by [[images]]; it does not realize [[philosophy]], but philosophizes [[reality]].
In the [[society of the spectacle]], the [[concrete ]] [[life ]] of all is debased to [[being ]] a speculative [[universe]].
Even violent [[revolt ]] is liable to be incorporated into the constant and constantly changing [[spectacle]].
[[Debord]]'s work is as deeply [[pessimistic ]] as that of [[Marcuse]], but is relieved by the glacial elegance of his aphoristic style.
He wrote relatively little, and in 1989 wryly - and quite accurately - described himself as one who had written much less than most people who write, but who had drunk much more than most people who drink.
