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For the town in Kentucky, see Debord, Kentucky.
Guy Ernest Debord
Guy Debord.gif
Born (1931-12-28)December 28, 1931
Paris, France
Died November 30, 1994(1994-11-30) (aged 62)
Bellevue-la-Montagne, Haute-Loire, France
Era 20th century philosophy
Region Western Philosophy
School Marxism, Letterist International, Situationist
Main interests Social theory
Reification
Commodity fetishism
Class struggle
Notable ideas Spectacle
Détournement
Psychogeography
Dérive
Recuperation
Influences
Influenced

Guy Ernest Debord (French: [dəbɔʁ]; December 28, 1931 – November 30, 1994) was a French Marxist theorist, writer, filmmaker, member of the Letterist International, founder of a Letterist faction, and founding member of the Situationist International (SI). He was also briefly a member of Socialisme ou Barbarie.

Early life[edit]

Guy Debord was born in Paris in 1931. Guy's father, Martial, was a pharmacist who died due to illness when Guy was young. Guy's mother, Paulette Rossi, sent Guy to live with his grandmother in her family villa in Italy. During World War II, the Rossis left the villa and began to travel from town to town. As a result, Guy attended high school in Cannes, where he began his interest in film and vandalism.[1] As a young man, Debord actively opposed the French war in Algeria and joined in demonstrations in Paris against it.[2]

Involvement with the Letterists[edit]

Debord joined the Letterist International when he was 19. The Letterists were led dictatorially by Isidore Isou until a widely agreed upon schism ended Isou's authority. This schism gave rise to several factions of Letterists, one of which was decidedly led by Debord upon Gil Wolman's unequivocal recommendation.[3] In the 1960s, Debord led the Situationist International group, which influenced the Paris Uprising of 1968. Some consider his book The Society of the Spectacle (1967) to be a catalyst for the uprising.[4]

Founding of the Situationist International[edit]

In 1957, the Lettrist International, the International Movement for an Imaginist Bauhaus, and the London Psychogeographical Association gathered in Alba, Italy, to found the Situationist International, with Debord having been the leading representative of the Lettrist delegation. Initially made up of a number of well known artists such as Asger Jorn and Pinot Gallizio, the early days of the SI were heavily focused on the formulation of a critique of art, which would serve as a foundation for the group's future entrance into further political critiques. The SI was known for a number of its interventions in the art world, which included one raid against an international art conference in Belgium during 1960 that included a large pamphlet drop and significant media coverage, all of which culminated in the arrest of various situationists and sympathizers associated with the scandal. In addition to this action, the SI endeavored to formulate industrial painting, or, painting prepared en masse with the intent of defaming the original value largely associated with the art of the period. In the course of these actions, Debord was heavily involved in the planning and logistical work associated with preparing these interventions, as well as the work for Internationale Situationniste associated with theoretical defense of the Situationist International's actions.[5]

Political phase of the Situationist International[edit]

In the early 1960s, Debord began to direct the SI toward an end of its artistic phase, eventually excluding members such as Jorn, Gallizio, Troche, and Constant, the bulk of the ‘artistic’ wing of the SI, by 1965. Having established the situationist critique of art as a social and political critique, one not to be carried out in traditional artistic activities, the SI began, due in part to Debord’s contributions, to pursue a more concise theoretical critique of capitalist society.

With Debord’s 1967 piece, The Society of the Spectacle, and excerpts from the group's journal, Internationale Situationniste, the Situationists began to formulate their theory of the spectacle, which explained the nature of late capitalism's historical decay. In Debord’s terms, the spectacle was defined as an assemblage of social relations transmitted via the imagery of class power, and as a period of capitalist development wherein 'all that was once lived has moved into representation'. With this theory, Debord and the SI would later go on to play an influential role in the revolts of May 1968 in France, with many of the protesters drawing their slogans from Situationist tracts penned or influenced by Debord.[6][7]

After the Situationist International[edit]

In 1972, Debord disbanded the Situationist International due to the fact that he had either expelled or lost all of the original members, including Asger Jorn and, in 1972, Raoul Vaneigem, who wrote a biting criticism of Debord and the International.[8] Debord then focused on filmmaking with financial backing from the movie mogul and publisher, Gérard Lebovici (éditions Champ Libre), until Lebovici's mysterious death. Debord was suspected of Lebovici's murder. Distraught by these accusations and his friend's death, Debord took his films and writings out of production until after his death, when he agreed to have his films released at the request of the American researcher, Thomas Y. Levin.[9] Debord's two most recognized films date from this period: a film version of Society of the Spectacle (1973) and "In Girum Imus Nocte Et Consumimur Igni" (1978).

After the dissolution of the Situationist International, Debord spent his time reading, and occasionally writing, in relative isolation in a cottage at Champot with Alice Becker-Ho, his second wife. He continued to correspond on political and other issues, notably with Lebovici and the Italian situationist Gianfranco Sanguinetti.[10] He focused on reading material relating to war strategies, e.g. Clausewitz and Sun Tzu, and he designed a war game with Alice Becker-Ho.[11]

Debord was married twice, to Michèle Bernstein and Alice Becker-Ho, however, these were open relationships. Debord had noted relationships with other women, including Michèle Mochot, the daughter of a surrealist. Bernstein produced a vaguely fictional account of intimate details of the open relationships Mochot and she had with Debord in her novel, All The King's Horses.

Debord's alcohol consumption became problematic for his health, giving him a form of polyneuritis brought on by his excessive drinking. Apparently, in order to end the suffering induced by this condition, he committed suicide,[12] by shooting himself in the heart at his property in Champot, near Bellevue-la-Montagne, Haute-Loire, on November 30, 1994. Just before his death, he filmed (although did not publish) a documentary entitled, "Son art et son temps" (His Art and his Time), an "autobiography" that focused primarily on social issues in Paris in the 1990s. It has been suggested that this dark depiction of Debord's "time" was a suicide note of sorts.

On January 29, 2009, fifteen years after his death, Christine Albanel, Minister of Culture, classified the archive of his works as a "national treasure" in response to a sale request by Yale University.[13][14] The Ministry declared that "he has been one of the most important contemporary thinkers, with a capital place in history of ideas from the second half of the twentieth century."[15] Similarly, Debord once called his book, The Society of the Spectacle, "the most important book of the twentieth century".[citation needed] He continues to be a canonical and controversial figure particularly among European scholars of radical politics and modern art.[citation needed]

Written works[edit]

Guy Debord's best known works are his theoretical books, Society of the Spectacle and Comments on the Society of the Spectacle. In addition to these he wrote a number of autobiographical books including Mémoires, Panégyrique, Cette Mauvaise Réputation..., and Considérations sur l'assassinat de Gérard Lebovici. He was also the author of numerous short pieces, sometimes anonymous, for the journals Potlatch, Les Lèvres Nues, Les Chats Sont Verts, and Internationale Situationniste.

Debord was deeply distressed by the hegemony of governments and media over everyday life through mass production and consumption. He criticized both the capitalism of the West and the dictatorial communism of the Eastern bloc for the lack of autonomy allowed to individuals in both governmental structures. Debord postulated that Alienation had gained a new relevance through the invasive forces of the 'spectacle' - "a social relation between people that is mediated by images" consisting of mass media, advertisement, and popular culture. The spectacle is a self-fulfilling control mechanism for society. Debord's analysis developed the notions of "reification" and "fetishism of the commodity" pioneered by Karl Marx and Georg Lukács. Semiotics was also a major influence, particularly the work of his contemporary, Roland Barthes, who had coined the term, "the society of the spectacle", which Debord appropriated as the title for his most celebrated book. Debord's analysis of "the spectaclist society" probed the historical, economic, and psychological roots of the media and popular culture. Central to this school of thought was the claim that alienation is more than an emotive description or an aspect of individual psychology: rather, it is a consequence of the mercantile form of social organization that has reached its climax in capitalism, as theorized by Herbert Marcuse of the Frankfurt School.

The Situationist International (SI), a political/artistic movement organized by Debord and his colleagues and represented by a journal of the same name, attempted to create a series of strategies for engaging in class struggle by reclaiming individual autonomy from the spectacle. These strategies, including "dérive" and "détournement," drew on the traditions of Lettrism. As founder of the SI, it has been suggested that Debord felt driven to generalize and define the values, ideas, and characteristics of the entire group, which may have contributed to his hand-picking and expultion of members. The hierarchical and dictatorial nature of the SI existed, however, in the groups that birthed it, including the Letterists and the Surrealists.

Debord's first book, Mémoires, was bound with a sandpaper cover so that it would damage other books placed next to it.

Debord has been the subject of numerous biographies, works of fiction, artworks, and songs, many of which are catalogued in the bibliography by Shigenobu Gonzalves, "Guy Debord ou la Beauté du Negatif."

Often, it is suggested that Debord was opposed to the creation of art, however, Debord writes in the Situationist International magazine ("Contre la Cinema") that he believes that "ordinary" (quotidian) people should make "everyday" (quotidian) art; art and creation should liberate from the spectacle, from capitalism, and from the banality of everyday life in contemporary society. In "The Society of the Spectacle," Debord argues that it is the price put on art that destroys the integrity of the art object, not the material or the creation itself. Perhaps this is how Debord justified his filmmaking. It is important to note that Debord does not equate art to "the spectacle."

Films[edit]

Debord began an interest in (or perhaps a hatred for) film early in his life when he lived in Cannes in the late 1940s. Debord recounted that, during his youth, he was allowed to do very little other than attend films. He said that he frequently would leave in the middle of a film screening to go home because films often bored him. Debord joined the Lettrists just as Isidore Isou was producing films and the Lettrists attempted to sabotage Charlie Chaplin's trip to Paris through negative criticism. Debord directed his first film, Hurlements en faveur de Sade in 1952 with the voices of Michèle Bernstein and Gil Holman. The film has no images represented; instead, it shows bright white when there is speaking and black when there is not. Long silences separate speaking parts. The film ends with 24 minutes of black silence. People were reported to have become angry and left screenings of this film. The script is composed of quotes appropriated from various sources and made into a montage with a sort of non-linear narrative. Later, through the financial support of Michèle Bernstein and Asger Jorn, Debord produced a second film, Sur le passage de quelques personnes à travers une assez courte unité de temps, which combined scenes with his friends and scenes from mass media culture. This integration of Debord's world with mass media culture became a running motif climaxing with "The Society of the Spectacle". Debord wrote the book The Society of the Spectacle before writing the movie. When asked why he made the book into a movie, Debord said, "I don't understand why this surprised people. The book was already written like a script". Debord's last film, "Son Art et Son Temps", was not produced during his lifetime. It worked as a final statement where Debord recounted his works and a cultural documentary of "his time".

  • Hurlements en faveur de Sade (Howls for Sade) 1952
  • Sur le passage de quelques personnes à travers une assez courte unité de temps (On the Passage of a Few Persons Through a Rather Brief Unity of Time) 1959 (short film, Dansk-Fransk Experimentalfilmskompagni)
  • Critique de la séparation (Critique of Separation) 1961 (short film, Dansk-Fransk Experimentalfilmskompagni)
  • La Société du spectacle (Society of the Spectacle) 1973 (Simar Films)
  • Réfutation de tous les judgements, tant élogieux qu’hostiles, qui ont été jusqu’ici portés sur le film « La Société du spectacle » (Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film "The Society of the Spectacle") 1975 (short film, Simar Films)
  • In girum imus nocte et consumimur igni (We Turn in the Night, Consumed by Fire) (Simar Films) 1978 - This film was meant to be Debord's last one and is largely autobiographical. The film script was reprinted in 2007 in No: a journal of the arts.[16]
  • Guy Debord, son art, son temps (Guy Debord - His Art and His Time) 1994 (a 'sabotage television film' by Guy Debord and Brigitte Cornand, Canal Plus)

Complete Cinematic Works (AK Press, 2003, translated and edited by Ken Knabb) includes the scripts for all six of Debord's films, along with related documents and extensive annotations.

Bibliography[edit]

Works by Debord[edit]

Further reading[edit]

  • egs.edu
  • Internationale situationniste, Paris, 1958-1969. Réédition intégrale chez Van Gennep, Amsterdam 1972, chez Champ Libre 1975, et chez Fayard 1997, ISBN 2-213-59912-2; complete translations are available in German: Situationistische Internationale, Gesammelte Ausgabe des Organs der Situationistischen Internationale, Hamburg: MaD Verlag 1976-1977, ISBN 3-921523-10-9; and in Spanish: Internacional situacionista: textos completos en castellano de la revista Internationale situationniste (1958-1969), Madrid: Literatura Gris [1999-2001], ISBN 84-605-9961-2.
  • The Situationist International by Simon Ford, Black Dog Publishing, 2004, illustrated.
  • Lipstick Traces: A Secret History of the Twentieth Century, Greil Marcus, Harvard University Press, 1990, ISBN 0-674-53581-2.
  • Situationist International Anthology, translated and edited by Ken Knabb, Bureau of Public Secrets 1981; Revised and Expanded Edition 2006, ISBN 978-0-939682-04-1.
  • Guy Debord, Anselm Jappe, University of California Press 1999, ISBN 0-520-21204-5.
  • Guy Debord - Revolutionary, Len Bracken, Feral House 1997, ISBN 0-922915-44-X.
  • I situazionisti, Mario Perniola, Roma, Castelvecchi 2005, ISBN 88-7615-068-4.
  • Della critica radicale - bibliografia ragionata sull' Internazionale situazionista - con documenti inediti in italiano, Gianluigi Balsebre, Bologna, Grafton 9, 1995.
  • The Game of War: The Life and Death of Guy Debord., Andrew Hussey, Cape 2001, ISBN 0-224-04348-X.
  • Guy Debord and the Situationist International, edited by Tom McDonough, MIT Press 2002, ISBN 0-262-13404-7.
  • "The Beautiful Language of my Century": Reinventing the Language of Contestation in Postwar France, 1945-1968, Tom McDonough, MIT Press 2007, ISBN 0-262-13477-2.
  • Guy Debord, Andy Merrifield, Reaktion 2005, ISBN 1-86189-261-6.
  • 50 Years of Recuperation of the Situationist International, McKenzie Wark, Princeton Architectural Press, New York, 2008 ISBN 1-56898-789-7
  • Los Situacionistas y la Anarquía, Miguel Amorós, Bilbao, Muturreko burutazioak, 2008, ISBN 978-84-88455-98-7.
  • Debord ou la Diffraction du temps, Stéphane Zagdanski, Gallimard, 2008

References[edit]

  1. ^ Bourseiller, Christophe. "Vie et Mort de Guy Debord". Agora.
  2. ^ http://www.notbored.org/guillaume.html
  3. ^ Bourseiller, ibid
  4. ^ Andreotti, L. "Review: Leaving the twentieth century: The Situationist International." Journal of Architectural Education, 49(3), p. 197.
  5. ^ Debord, Guy. Correspondence: The Founding of the Situationist International. Semiotext(e). 2008.
  6. ^ Knabb, Ken. Situationist International Anthology. Bureau of Public Secrets, 2007.
  7. ^ Debord, Guy. The Society of the Spectacle. Zone Books, 1995.
  8. ^ "The Veritable Split in the SI", 1972
  9. ^ Guy Debord, "Reflections of the Death of Gérard Lebovici"
  10. ^ Guy Debord
  11. ^ Le Jeu de la Guerre: Relevé des positions successives de toutes les forces au cours d'une partie accessed January 14, 2008
  12. ^ Hussey, Andrew (28 July 2001). "Situation Abnormal". London: The Guardian. Retrieved July 8, 2009. 
  13. ^ juralibertaire.over-blog.com
  14. ^ Gallix, Andrew (March 18, 2009). "The resurrection of Guy Debord". The Guardian (London). Retrieved May 4, 2010. 
  15. ^ Journal Officiel de la Republique Francaise du 12 fevrier 2009 (texte 120)
  16. ^ nojournal.com
  17. ^ prole.info

External links[edit]


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Hazlitt Magazine

Hazlitt Magazine
Thu, 24 Jul 2014 07:37:30 -0700

This year will mark the 20th anniversary of the death of Guy Debord (1931-1994), the filmmaker, revolutionary, writer, and consummate drinker who is most often identified as the secretary and guiding figure of the Situationist International (S.I.), as ...
 
The Quietus
Tue, 22 Jul 2014 06:07:30 -0700

The spectacle, as first theorised by French Situationist philosopher Guy Debord in the 1960s, refers to the domination of experience by mass media, to social relations among people that are mediated by images. To be "lost" in the spectacle is to be ...

Intercontinental Cry

Intercontinental Cry
Sat, 19 Jul 2014 09:27:38 -0700

Guy Debord, author of The Society of the Spectacle, once remarked, “There are two parallel counterrevolutionary confusionist tactics: the partial cooption of new values, and a deliberately anticultural industrially facilitated production, the latter ...

Flavorwire

Flavorwire
Tue, 22 Jul 2014 06:00:51 -0700

Eventually, like others on the French left, the work of Guy Debord and Situationist International started to impact his thinking, and you notice it in his books, his writing. You get the sense that, no matter their station in life and no matter what ...
 
ArtSlant
Mon, 21 Jul 2014 22:15:00 -0700

He refers just as easily to French philosopher Charles Fourier (1772-1837) as he does to hip hop star Jay-Z. The Old Testament, hardcore porn, Samuel Beckett, daytime TV, the Black Panthers, Guy Debord and his Society of the Spectacle—for Chan this is ...

NPR (blog)

NPR (blog)
Thu, 10 Jul 2014 07:03:45 -0700

Otis Hart: Lost In The Spectacle is the name of your new album as York Factory Complaint. Is that the same "Spectacle" French philosopher Guy Debord addresses in his book The Society Of The Spectacle? Michael Berdan: It is indeed the situationist idea ...

RT

RT
Tue, 08 Jul 2014 07:18:07 -0700

Guy Debord genially recognized this process in his hermetic 1967 “The Society of Spectacle”. In his book Hidden Persuaders, Packard denounced colored billboards and subliminal messages. As Noam Chomsky puts it about corporations: "The goal is to ...

BBC News

BBC News
Thu, 17 Jul 2014 00:18:45 -0700

Guy Debord talked of a Society of the Spectacle in the 60s; we live in it. And it is that attitude - not an aesthetic - that unites these buildings. One is literally a theatre, the other five aim to be. We are the players for whom the architects have ...
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