If you wish, we can move on to a discussion”), his signature concept is criticism of the society of the spectacle. Even though his first film is a head-on attack of cinema (“There is no film. This makes the tone of these two films very different from On the Passage of a Few Persons Through a Rather Brief Unity of Time (1959), Critique of Separation (1961), Society of the Spectacle (1973) and Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle” (1975). Guy Debord’s cinematographic output starts in 1952 with Howlings for Sade, within the context of his youthful enthusiasm and Letterist cinema, and ends in 1978 with In girum imus nocte et consumimur igni, fruit of a profound personal melancholy. It offers an analysis of the hyperconnected society in which we live – where cognitive capitalism reigns – in reference to the work of Guy Debord, focusing on issues such as representation, freedom of expression, the spectacle, power and time. We have published the prologue Releer a Debord, courtesy of Caja Negra. Social media connected via mobile technology, the Internet of Things, algorithms and machine learning make up a world that poses many questions, not only whether we can continue to place our belief in images. Of the “society of the spectacle” as described by Guy Debord in his most well-known book, there is little left.
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