Difference between revisions of "Raoul Vaneigem"

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VANIEGEM, RAUOUL
 
VANIEGEM, RAUOUL
 
(1935-)
 
(1935-)
Belgian situationist.
+
[[Belgian]] situationist.
His ''Revolution of Everyday Life'' (1967) is one of the classics of [[situationism]], alongside [[Debord]]'s ''[[Society of the Spectacle]]'' (1967).
+
His ''Revolution of Everyday [[Life]]'' (1967) is one of the classics of [[situationism]], alongside [[Debord]]'s ''[[Society of the Spectacle]]'' (1967).
  
Much less philosophically abstract and closer to the [[anarchist]] tradition than [[Debord]]. [[Vaneigem]] predicts a [[revolution]] in everyday life that will be brought about by a spontaneous explosion of poetic creativity and the founding of a small self-governing communities that will unleash a free human creativity.
+
Much less philosophically abstract and closer to the [[anarchist]] [[tradition]] than [[Debord]]. [[Vaneigem]] predicts a [[revolution]] in everyday life that will be brought [[about]] by a spontaneous explosion of poetic [[creativity]] and the founding of a small [[self]]-governing communities that will unleash a free [[human]] creativity.
  
His vision of poetic creativity is strongly influenced by the tradition of [[Dada]]; in [[Vaniegem]]'s view, riots and vandalism are forms of spontaneous poetry.
+
His [[vision]] of poetic creativity is strongly influenced by the tradition of [[Dada]]; in [[Vaniegem]]'s view, riots and vandalism are forms of spontaneous [[poetry]].
  
His vision of sexual [[revolution]] is decidedly prefeminist and owes a lot to [[Reich]]'s views of the emancipatory function of the orgasm.
+
His vision of [[sexual]] [[revolution]] is decidedly prefeminist and owes a lot to [[Reich]]'s views of the emancipatory function of the [[orgasm]].
  
His commends on the manner in which advertisements influence consumers through a mechanism of [[interpellation]] are intriguingly similar to [[Althusser]]'s these on [[ideology]].
+
His commends on the manner in which advertisements influence consumers through a [[mechanism]] of [[interpellation]] are intriguingly similar to [[Althusser]]'s these on [[ideology]].
  
  
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[[Vaneigem]]'s polemical denunciation of the [[society of the spectacle]] comprises a powerful and often witty description of the kaleidoscopic flow of [[sign]]s which, by using the mechanism of [[interpellation]], transforms [[individual]]s into actors who play out [[alienating]] roles.
 
[[Vaneigem]]'s polemical denunciation of the [[society of the spectacle]] comprises a powerful and often witty description of the kaleidoscopic flow of [[sign]]s which, by using the mechanism of [[interpellation]], transforms [[individual]]s into actors who play out [[alienating]] roles.
  
The function of the ideological, artistic and cultural spectacle is to transform the wolves of spontaneity into the sphepards of [[knowledge]] and [[beauty]].
+
The function of the [[ideological]], artistic and [[cultural]] [[spectacle]] is to transform the wolves of [[spontaneity]] into the sphepards of [[knowledge]] and [[beauty]].
  
Although he broke with what was left of the [[Situationist International]] in 1972, [[Vaneigem]] continues to write in a recognizably [[situationist]] style (1995).
+
Although he broke with what was [[left]] of the [[Situationist International]] in 1972, [[Vaneigem]] continues to write in a recognizably [[situationist]] style (1995).
 
==Vaneigem==
 
==Vaneigem==
  
A similar notion of [[interpellation]] can be found in [[Vaneigem]]'s contribution to the theory of [[situationism]] (1967).
+
A similar [[notion]] of [[interpellation]] can be found in [[Vaneigem]]'s contribution to the [[theory]] of [[situationism]] (1967).
  
Confronted by the flow of [[sign]]s and [[image]]s that cosntitute [[Debord]]'s '[[society of the spectacle]]', [[individual]]s are constantly [[interpellated]] by posters, advertisements and stereotypes offering universal [[image]]s in which they are invited to recognize themselves.
+
Confronted by the flow of [[sign]]s and [[image]]s that cosntitute [[Debord]]'s '[[society of the spectacle]]', [[individual]]s are constantly [[interpellated]] by posters, advertisements and stereotypes offering [[universal]] [[image]]s in which they are invited to recognize themselves.
  
 
The function of [[interpellation]] is to block spontaneous creativity.
 
The function of [[interpellation]] is to block spontaneous creativity.

Latest revision as of 06:22, 1 June 2019

VANIEGEM, RAUOUL (1935-) Belgian situationist. His Revolution of Everyday Life (1967) is one of the classics of situationism, alongside Debord's Society of the Spectacle (1967).

Much less philosophically abstract and closer to the anarchist tradition than Debord. Vaneigem predicts a revolution in everyday life that will be brought about by a spontaneous explosion of poetic creativity and the founding of a small self-governing communities that will unleash a free human creativity.

His vision of poetic creativity is strongly influenced by the tradition of Dada; in Vaniegem's view, riots and vandalism are forms of spontaneous poetry.

His vision of sexual revolution is decidedly prefeminist and owes a lot to Reich's views of the emancipatory function of the orgasm.

His commends on the manner in which advertisements influence consumers through a mechanism of interpellation are intriguingly similar to Althusser's these on ideology.



Vaneigem's polemical denunciation of the society of the spectacle comprises a powerful and often witty description of the kaleidoscopic flow of signs which, by using the mechanism of interpellation, transforms individuals into actors who play out alienating roles.

The function of the ideological, artistic and cultural spectacle is to transform the wolves of spontaneity into the sphepards of knowledge and beauty.

Although he broke with what was left of the Situationist International in 1972, Vaneigem continues to write in a recognizably situationist style (1995).

Vaneigem

A similar notion of interpellation can be found in Vaneigem's contribution to the theory of situationism (1967).

Confronted by the flow of signs and images that cosntitute Debord's 'society of the spectacle', individuals are constantly interpellated by posters, advertisements and stereotypes offering universal images in which they are invited to recognize themselves.

The function of interpellation is to block spontaneous creativity.

Whether or not there is any direct connection between the two notions of interpellation remains unclear.


See Also

References