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类型【居伊·德波】景观社会.pdf

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    1、Co-published by Radical America of which it is Vol. IV, No, 5. RA appears 10 times per year, with subscription rates of: $5/year, or $10/year with all RA and allied pamphlets, Joint Subscription Offers: $9/year with Socialist Revolution; sa/year with Leviathan, 55.50/year with TELOS. Bulk rates: 60%

    2、 of cover price, for ten or more copies. Address: 1237 Spaight St., Madison, WI 53703. and Black and the unif i catio n which it accompl is he s is nothing other than an official lan guage of general ized separation. 4 The spectacle is not a colle ction of im ages but a social relation am ong people

    3、 mediated by im ages. 5 The spectacle can not be un der stood as the abuse of a world of vi sion, as the product of the technique s of mass di ssemination of images. It is, rather, a Weltanschauung whic h has become actual, ma terially translat ed . It is a vision of the world whic h has become obje

    4、ctifie d. 6 The spectacle , und erstood in its tot ality, is simultane ously the re sult an d the project of the existing mode of produc tion. It is not a sup plement to the real world, its add ed de coration. It is the hear t of the unr ealism of the rea l society. In all its spe cific forms, as in

    5、formation or propag anda, advertisement or direct consump tion of entertainments, the spec tacle is the present model of socially dominan t life. It is the omnipr esent affirmation of the choice already made in pr oduction and its corollary consump tion. The form an d the content of the spectacle ar

    6、 e identically the tota l jus tification of the condit ions and the ends of the existing system. The spectacle is al so the permanent presence of this ju st ification, to the extent that it occupie s the prin cipal par t of the time lived outside of modern produc tion. 7 Separat ion is itself part o

    7、f the uni ty of the wo rld, of the global social praxis which is spli t into reality an d im age. The social practice in front of which the au tonomous spectacle parades is al so the real tot ality which contains the spectacle. But the gash within this tota lity mutila tes it to the point of making

    8、the specta cle app ear to be its goal. The Ian guage of the spec tacle consis ts of signs of the ruling production, whic h at the same time ar e the ultima te goal of this produc tion. 8 One cannot abstractly contrast the spectac le to actual social ac tivity: such a division is itself divided. The

    9、spec tacle which inverts the rea l is in fact produc ed. At the same time lived reality is ma terially invade d by the contemp lation of the spec tacle, an d it take s up the spectacular order within itself, giving it a positive adhe sion. Obje ctive reality is present on both sides. Every notion fi

    10、xe d this way has no other basis than its passage into the opp osite : reality rises up within the specta cle, and the spectacle is real. Thi s reciproca l alienation is the essence an d the sup port of the existin socie ty. 9 Within a world really on its head, the true is a moment of the false. 10

    11、The concept of the spectacle unif ie s and explains a great diversity of ap parent phe nomena. The di versity and the contrasts are the app ear anc es of this socially organ ized ap pearance which mus t itself be recog niz ed in its general truth. Considered in its own terms, the spectacle is the af

    12、fi rma tion of app earance and the af firmation of all human, namely social life, as me re ap pea ranc e. Bu t the critique whic h reaches the truth of the specta cle unc overs it as the visible negation of li fe; as a negation of life wh ich has become visible. 11 To describ e the spectac le, its f

    13、ormation, its functions, and the forces which tend to dissolve it, one mu st artificially distinguish some insep arable elements. When ana lyzing the spectacle one spe aks, to some ex tent, the language of the spectac ular itself in the sense that one moves across the me thodological terrain of the

    14、socie ty which exp resses itself in the spectacle. But the spectacle is nothing other than the sense of the total practice of a social-ec onomic forma tion, its use of time. It is the hi st orical momen t which contains us. 12 The spectac le presents itself as an enormous un utterable an d inac cess

    15、ible actual ity. It says nothing more than “that which app ears is good , that whic h is good app ear s.“ The att itude whic h it demands in principle is this passive acceptance, which in fact it has alr eady obtaine d by its manner of app earing without reply, by its monop oly of app ear ance. 13 T

    16、he ba sically tautological charac ter of the spectacle flows from the simp le fact that its means are at the same time its goal. I t is the sun which never sets over the empir e of modern passiv ity . It covers the en tire surface of the wo rld and bathes endle ssly in its own glory. 14 The society

    17、which rests on modern industry is not acc identally or sup erficially specta cular, it is funda mentally spectaclist. In the spec tacle, im age of the ruling economy, the goal is nothing, de velopme nt is all. The spectacle wants to get to nothing ot he r than itself. 15 As the ind ispenab le decora

    18、tion of the objects produc ed today, as the general expo se of the rationality of the system, as the advanced eco nomic sector whic h dir ect ly shapes a growing multitude of im age objects, the spectacle is the main production of present-day society. 16 The spec tacle subj ugates living men to itse

    19、lf to the extent that the economy has tot ally subjug ated them. It is no more than the economy developing for itself. It is the true reflection of the produc tion of things, and the false objec tif ication of the producers. 17 The first pha se of the domination of the economy over social life had b

    20、rought into the de finition of all hum an real ization an obvio us degrad ation of being into having. The present phase of total occupa tio n of social life by the ac cumu lated results of the economy le ads to a generalized sliding of having into appearing, from which all actual “having“ mus t draw

    21、 its immedia te prestige and its ultimate function. At the same time all individual reali ty has become social, directly de pendent on social force, shaped by it. It is allo wed to ap pear only be cause it is not . 1 8 When the rea l world chan ges into simple images, simple images be come real bein

    22、g s an d effective mot ivations of a hypnotic beha vior. The spectacle as a tendency to make one see the world by means of various specializ ed mediations (i t can no longer be grasped directly), na turally finds vision to be the privile ged hum an sense which the sense of touch was for other epochs

    23、; the most abstract, the most my st ifiable sense cor responds to the genera liz ed ab straction of present-day socie ty. But the specta cle is no longer identifiable with the mere look, even combined with hearin g. It is that whic h escapes the activity of men, that whic h escapes reconsideration a

    24、n d correction by their work. It is the opposite of dialogue. Wherever there is independent representat ion the spectac le reconstitutes itself. 19 The specta cle is the heir of all the weakne sses of the Western philo sophical project whic h was to un derstand activity, dominated by the categories

    25、of seei ng; inde ed, it is based on the inc essant deployment of the precise technical ra tionality which grew out of this thought. It does not realize philo sophy, it philosophize s reality. It is th e concrete life of all which is de grade d in to a speculative universe. 20 Philosophy, the power o

    26、f separate thoug ht an d the thought of sep ar ate power, could never by itself overcome theology. The specta cle is the materia l recons truction of the religious illusion. Spectacular tech nology has not dissipated the relig ious clouds whe re men had pla ced their own powers de tached from themse

    27、lves; it has only tied them to an ear thly base. Thus it is the most earthly life which bec ome s opaq ue an d un breathable. It no longer throws into the sk y but houses within it self its absolu te denia l, its fallacious par adise. The specta cle is the tech nica l realization of th e exile of hu

    28、man powers into a beyond; separation perfected within the interior of man . 2 1 To the extent tha t necessity is socially dream ed, the dream becomes necessa ry. The spect acle is the nightmar e of im pris oned mod ern so ci ety which ul tim at ely expr esses nothing more than its de sire to sle ep.

    29、 The spec tacle is the guar dian of sle ep. 22 The fact that the pract ical power of mo dern socie ty detached its elf and buil t its elf an ind ependent empir e in the spectac le can only be ex plai ned by another fact, the fact that th is pract ical power continued to lack cohesion and rema in ed

    30、in contra diction with its elf . 23 The old es t social spe cializ ation, the spe cializ ation of power, is at the root of the spec tacle. The spec tacle is thus a specializ ed activity whic h speaks for the ens emble of the others. It is the diplom atic representa tion of hie rar chic society in fr

    31、ont of its elf, where all othe r expr ession is banis hed . Here the mos t mod ern is als o the mos t arch aic. 24 The specta cle is the unin terru pted conversat ion which the present order main tains about its elf , its la ud atory monolo gue. It is the self portra it of power in the epoch of its

    32、tota li tarian mana gement of the conditions of exis tence. The feti shis t app earance of pur e objectiv it y in specta cular relations hides their char acter of relations am ong men and am ong cl ass es: a second natu re seems to domi na te our envir onme nt with its fata l la ws. But the specta c

    33、le is not the neces sary product of te chnical development seen as a natural development. The society of the spect acle is on the contrary the form which choos es its own te ch nical content. If the spect acle , taken in the limi ted sense of “me ans of mas s communi cati on,“ which are its mos t gl

    34、aring super ficia l manife sta tion, may seem to invade society as a simp le ins trum ent ation , this in strum entation is in fact noth ing neutr al but is the very ins tru men tation which is suited to the tota l self-mov ement of the spect acle. If the socia l need s of the epoch in which such te

    35、ch niques are develo ped can only be satis fied thr ough the ir mediation, if the admi nis tration of this society and all contact among men can no long er take pl ace except through the int erme diary of this power of ins tant aneous comm unication, it is be cause this “commun ication“ is ess entia

    36、lly unila teral. As a result the concentration of “commun ic ation“ accumul ates wi thin the hand s of the adminis tration of the exis ting system the me ans which al lo w it to carry on this parti cula r adminis tra tion. The genera liz ed cle avage of the spec tacle is ins epara ble from the mod e

    37、rn Sta te, namely fro m the general form of cle avage within society, the product of the division of social lab or and the organ of cl ass domi nation. 25 Separa tion is the alp ha and the om ega of the spectac le. The ins titu tional ization of the social division of labor, the formation of cla ss

    38、es, ha d constru cted a fi rst sacred contem plation, the myth ical order with which every power covers it self from the beginning. The sacred ha s jus tif ie d the cosmic and ontologic al order wh ic h corre sponded to the intere sts of the mas ters, it has explai ned and emb ellis he d tha t whic

    39、h society could not do. Thus all separate power has been spectacu lar, but the adhe rence of all to an imm obile im age only signifie d the comm on acceptance of an im aginary prolo ngation for the poverty of real social activi ty, still la rge ly felt as a unitar y condition. The modern spect acle,

    40、 on the contrary, expres ses what society can do, but in this expression the permitt ed is abs olut ely oppos ed to the possible. The spec tacle is the pres ervation of uncons cious ness wit hin the pr actic al chang e of the conditions of ex is tence . It is its own product, and it has made it s ow

    41、n ru le s: it is a pseu do-s acred. It shows what it is: separate power developing wit hin its elf, in the growth of productivit y by me ans of the incess ant refi ne me nt of the divis ion of labor in to a parc ell ization of ges tures whic h ar e then dominated by the in dependent movement of mach

    42、 in es; an d work in g for an ever mor e expande d market. All community and all critic al sense are dis solved durin g this mov ement in which the forces whic h coul d have grown have separated anr l have not yet been rediscovered. 26 Wit h the generali zed sepa rat ion of the worker from his produ

    43、c t every unit ary viewpoin t of accomplis hed ac tivit y and all dire ct pers onal com mun ication among produ cers, are los t. Accomp anying the progress of the accumulation of sepa rate products and the concentrat ion of the pro ducti ve proces s, unity and communic ation become exclus ively the at tri bute of the directorate of the syste m. The success of the econ omi c system of sepa ration is the proletarianization of the world.

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