Academic literature on the topic 'Guy debord'
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Journal articles on the topic "Guy debord"
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Matos, Olgária Chain Feres. "Guy Debord:." Revista Limiar 1, no. 1 (March 24, 2019): 1–11. http://dx.doi.org/10.34024/limiar.2013.v1.9289.
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Smith, Jason E. "Guy Debord, Filmmaker." Grey Room 52 (July 2013): 7–17. http://dx.doi.org/10.1162/grey_e_00112.
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Angaut, Jean-Christophe. "Guy Debord et l’anarchisme." Revue Française d'Histoire des Idées Politiques N° 55, no. 1 (July 21, 2022): 15–34. http://dx.doi.org/10.3917/rfhip1.055.0015.
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Winestine, Zack. "Howls for Guy Debord." Film Quarterly 62, no. 4 (2009): 14–15. http://dx.doi.org/10.1525/fq.2009.62.4.14.
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Lyra de Carvalho, Frederico. "Debord e o hegelo-marxismo francês. Resenha de La librairie de Guy Debord. Marx Hegel." Princípios: Revista de Filosofia (UFRN) 29, no. 58 (February 28, 2022): 178–83. http://dx.doi.org/10.21680/1983-2109.2022v29n58id28180.
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Marcolini, Patrick. "Guy Debord et la technologie." Revue Française d'Histoire des Idées Politiques N° 55, no. 1 (July 21, 2022): 119–47. http://dx.doi.org/10.3917/rfhip1.055.0119.
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Apostolidès, Jean-Marie. "Guy Debord, vingt ans après." Critique 814, no. 3 (2015): 225. http://dx.doi.org/10.3917/criti.814.0225.
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Kaufmann, Vincent. "The Lessons of Guy Debord." October 115 (January 2006): 31–38. http://dx.doi.org/10.1162/octo.2006.115.1.31.
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Hussey, A. "La mélancolie de Guy Debord." PSN 6, no. 1 (February 2008): 1–4. http://dx.doi.org/10.1007/s11836-008-0053-3.
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SARMENTO-PANTOJA, Augusto, and Tânia SARMENTO-PANTOJA. "Kluge e debord: projeções entre escrita especulativa e produção artística." MOARA – Revista Eletrônica do Programa de Pós-Graduação em Letras ISSN: 0104-0944, no. 41 (December 3, 2014): 24. http://dx.doi.org/10.18542/moara.v0i41.1954.
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Resumo: Este estudo pretende apresentar algumas ponderações acerca das relações entre escrita e produção artística. Nosso ponto de partida são as reflexões de Guy Debord, Alexander Kluge, este em diálogo com Jean Luc Godard, e suas respectivas produções cinematográficas. Palavras-chaves: Alexander Kluge. Guy Debord. Cinema
Dissertations / Theses on the topic "Guy debord"
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Turpain, Sébastien. "Guy Debord mémorialiste." Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC001.
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Il s'agit dans ce travail de montrer en quoi, pourquoi, et comment l'oeuvre de Guy Debord (1931 - 1994) peut être envisagée comme une succession de fragments, constituant dans leur ensemble des Mémoires, et aussi d'en mesurer l'originalité, la singularité, tant sur le fond que sur la forme. Cette approche est novatrice, car la critique autour de l'oeuvre de Debord n'a jamais choisi d'envisager l'oeuvre dans cette perspective globale, lacune qu'il s'agit ici de combler. Ce travail consiste ainsi à mettre en évidence le fait que ces « Mémoires » ont une unité seulement dans la perspective de toute une vie, puisque, étant composés d'une succession de fragments, ils supposent une posture de mémorialiste tout au long de la vie. Un tel projet tend donc à montrer que, même si ces Mémoires racontent naturellement une histoire, une époque, des événements, ils n'en ont pas moins eux-mêmes une histoire, que l'on peut reconstituer. Plus classiquement, les « Mémoires » de Guy Debord font partie d'une démarche qui les place à la croisée de l'autobiographie et de l'historiographie, avec pour but de jouer un rôle. Ce sont des témoignages qui se veulent utiles, ce sont des communications. Ils sont narration, récit, portrait, mais aussi critique sociale, réflexion sur la vie des hommes (à l'instar des Mémoires de Saint-Simon), ou encore oeuvre historiographique pour servir à l'histoire de leur temps. Une telle étude implique un travail en plusieurs temps. Il y a d'abord la vie de l'auteur, intimement mêlée à l'oeuvre, et qui est mise en récit d'une manière qui évolue sans cesse, d'oeuvre en oeuvre, des allusions ou évocations souvent « incompréhensibles » des oeuvres du début, au récit clairement autobiographique que constitue le livre Panégyrique. Ensuite, il y a la critique sociale, le propos de moraliste portant sur le temps présent, lequel est régulièrement comparé à un passé glorifié. Guy Debord s'y fait alors orateur, convoquant Bossuet, La Boétie, Saint-Simon, pour mieux reprendre les moeurs de son siècle. Les Mémoires sont en outre un moyen d'écrire l'histoire - plus ou moins secrète - d'une époque, d'un point de vue personnel, dans l'intention de servir aussi bien à l'histoire de son temps qu'à une réflexion sur la vie des hommes à travers l'histoire, le passage du temps. Enfin, les Mémoires sont une tentative de communication plus personnelle, de témoignage plus intime (impliquant une certaine exemplarité), mais aussi une tentative de partage qui choisit, en quelque sorte, son «public » idéal. Ce thème de la communication - ce qui est, ou non communicable, transmissible - est finalement au coeur des préoccupations de Guy Debord, notamment vers la fin de sa vie, et est marqué par l'enjeu d'un passage de son témoignage à la postéritéThis works aims to show how and why the work of Guy Debord (1931 - 1994) can be seen as a series of fragments, which together constitute the Memoirs of the author, and also aims to measure their originality and singularity, both in substance and in form. This approach is innovative because the criticism surrounding the work of Debord never chose to consider his work in this global perspective, leaving a gap to fill. This work therefore aims to highlight the fact that these « Memoirs » can only find Their unity in the perspective of a lifetime because, being composed of a series of fragments, they indicate the author's stance as a memorialist throughout his entire life This work also tends to show that, although these « Memoirs » naturally tell a story, evoke an era, and recount events, they themseives have a story that can be reconstructed. More conventionally, the « Memoirs » of Guy Debord are placed at the crossroads of autobiography and historiography, and aim to play a role. These Memoirs are testimonies that intend to be useful: they are communications. They combine not only narration and portrait, but also social criticism, reflection on the lives of men (like the Memoirs of Saint -Simon), and historiography. Such a study implies a three-step approach. First, there is the life of the author, interwoven with his work, and put into narrative form in a manner that is constantly evolving, from the often « incomprehensible » allusions or evocations of the early works, to the clearly autobiographical book Panegyric. Then, there is the social criticism, the vision of the moralist on the present time, which is regularly compared to a glorified past. Guy Debord then takes on the role of an orator, invoking Bossuet, La Boétie, Saint-Simon, to better reprimand the mores of his times. The Memoirs are Also a way to write, from a personal point of view, the more or less secret history of a time, with both the intention of serving history and of carrying out a reflection on the life of men throughout history or the passage of time. Finally, the memoirs are an attempt at a more intimate act of communication, a more intimate account of the author's life (implying a certain exemplarity), and also an attempt at sharing with an «ideal » public. The theme of communication - what is communicable, transmissible, or not - tends to be central to Guy Debord's work, especially towards the end of his life, and is marked by the question of the passage of his testimony to posterity
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Seddiki, Yalla. "Guy Debord : automythographe." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040097.
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Théoricien, « stratège » – ainsi qu’il s’est défini – cinéaste, acteur de ses seuls films, mémorialiste, révolutionnaire, membre du lettrisme (initié par Isidore Isou) et membre de l’organisation politique Socialisme ou Barbarie ; cofondateur de l’Internationale lettriste (1952-1957) et de l’Internationale situationniste (1957-1972), Guy Debord n’a visé à rien comme à projeter sur ses productions les traits de l’exceptionnel. Pour ce faire, il s’est entouré de quelques dizaines de compagnons. Ce qui constitue la base extrinsèque du mythe de Guy Debord. Par la trame anecdotique, la première partie de cette recherche évoque les personnalités qu’il a fréquentées, les mouvements d’avant-garde politiques et artistiques qu’il a momentanément soutenus et plus souvent affrontés, mais qui, en partie, ont déterminé les orientations de sa vie et de sa pensée. Il s’est d’abord agi pour Guy Debord de projeter les promesses émancipatrices de l’art et de la poésie moderne dans l’espace urbain et les relations sociales. Dans un deuxième temps, la réalisation de ce projet est subordonnée à celui de la révolution. Cependant, ce dessein est inséparable d’une esthétique, autrement dit d’une base intrinsèque, « le style de la négation », écrit Guy Debord. C’est le sujet de la seconde partie de ce travail. La « dérive », la « métagraphie influentielle », la « psychogéographie », la « situation » et le « détournement » sont quelques-uns des concepts qui dessinent une esthétique de l’action artistique et politique. Par ailleurs, d’abord intuitivement, puis avec une conscience maîtrisée, Guy Debord convoque une grande variété de figures et de récits exemplaires dont, analogiquement, il vise à diriger vers soi une partie de la puissance et du prestige. Par la constitution d’un cadre imaginatif mythique et mythographique, Guy Debord s’affronte à un nécessaire dépassement de l’intériorité imaginante vers la réalisation du récit dans la matérialité historiqueTheoretician, “Strategist” – as he defined himself –, film director, actor in his own films exclusively, memorialist, revolutionary, member of the Lettrist movement (initiated by Isidore Isou) and member of Socialism or Barbarism, a political organisation ; co-founder of the Lettrist International (1952-1957) and of the Situationist International (1957-1972), Guy Debord aimed for nothing but project features of the exceptional on his works. To do so, he surrounded himself with a few dozens companions, which constitutes the extrinsic basis of the Guy Debord myth. Through the fabric of anecdotes, the first part of this research brings up the key figures he socialised with and the political or artistic avant-garde movements he momentarily supported, and more often confronted, but which determined in part the courses taken by his life and thought. At first, for Guy Debord, it was a case of projecting the emancipatory promises of art and modern poetry onto the urban space and social relations. Then, the realisation of this project becomes subordinated to the project of revolution. However, this goal can not be separated from an aesthetic form, that is to say from an intrinsic basis, “the style of negation”, according to Guy Debord. The second part of this work will focus on this subject. “Drift”, “Influential metagraphy”, “psychogeography”, “situation” and “diversion” are but a few concepts outlining an aesthetic of political and artistic action. Besides, Guy Debord summons a large variety of characters and exemplary narratives – first intuitively, then with a fully controlled conscience –, the power and prestige of which he analogically aims to direct partly at himself. By elaborating an imaginative, mythical and mythographical framework, Guy Debord faces the necessity to overtake the mind-wandering inwardness, towards the accomplishment of the narrative within the historical materiality
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Cochard, Bertrand. "Guy Debord et la philosophie." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2026.
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À la fin des années 1950, Guy Debord entreprend de confronter ses thèses et intuitions, initialement construites au sein des avant-gardes artistiques, avec la philosophie allemande. Il étudie Hegel et Marx, découvre le marxisme « hétérodoxe » (Karl Korsch, Georg Lukács, Anton Pannekoek), discute les théoriciens et commentateurs de son temps (Jean Hyppolite, Henri Lefebvre, Lucien Goldmann), et importe certains concepts issus de cette tradition (totalité, aliénation, marchandise, etc.) au sein de sa propre pensée. Quelles ont été les conséquences de ce « tournant » philosophique ? Comment l’étude de ce tournant peut-elle permettre de mettre en question la réduction de l’auteur de La Société du Spectacle à un sociologue critique de « la société de consommation » ? L’objectif de ce travail, comportant trois parties – Esthétique (I), Philosophie critique (II), Philosophie du temps et de l’histoire (III) – est de faire émerger la singularité de Guy Debord dans le champ philosophique, en plaçant notamment la question du temps au cœur de cette singularitéAt the end of the 1950s, Guy Debord sought to confront with German philosophy the ideas and intuitions he first developed within the artistic avant-gardes. He studied Hegel and Marx, discovered heterodox Marxism (Karl Korsch, Georg Lukács, Anton Pannekoek), questioned theorists and commentators of his time (Jean Hyppolite, Henri Lefebvre, Lucien Goldmann) and started using several concepts from these traditions (eg. totality, alienation, commodity, etc.) in his own speech. This work aims to analyze the consequences of his philosophical “turn” in order to question the portrait of Guy Debord as a sociologist who criticized “consumer society”. It is presented in three parts – Aesthetics (I), Critical Philosophy (II), and Philosophy of Time and History (III). Its ambition is to reveal the philosophical singularity of the author of The Society of the Spectacle, especially on matters concerning Philosophy of Time
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Etzold, Jörn. "Die melancholische Revolution des Guy-Ernest Debord /." Zürich : Diaphanes, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783037340653.
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Etzold, Jörn. "Die melancholische Revolution des Guy-Ernest Debord." Zürich Berlin Diaphanes, 2006. http://d-nb.info/992472512/04.
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Haritçalde, Christian Campos de Oliveira. "Sonho e espetáculo: uma aproximação à Guy Debord." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-01102014-151345/.
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O presente trabalho tem o intuito de apresentar a teoria de Guy Debord para as discussões psicanalíticas relacionadas à teoria social e à política. Para tal propõe-se traçar a constituição conceitual de sua teoria sobre a sociedade do espetáculo, nascida da conjunção entre as discussões provenientes da crítica da economia política no campo marxista e a temática da superação da arte nas vanguardas artísticas, e articulando-a às aproximações teóricas que Debord faz com a psicanálise. Em um primeiro momento é apresentada a teoria do espetáculo como a atualização da alienação, reificação e fetichismo da mercadoria nas sociedades contemporâneas; ligando então esta reflexão à teoria freudiana do sonho através da analogia do espetáculo como sonho mau. Em um segundo momento é apresentada a teoria da superação do espetáculo, através das contradições internas do capitalismo avançado e a busca da revolução; ligando então esta reflexão com a psicanálise através da aproximação do capitalismo como inconsciente econômico que deve ser trazido à consciência pela prática revolucionária. Por fim conclui-se que apesar de Debord ser leitor de Freud, suas aproximações são um uso particular da teoria psicanalítica para a explicitação da teoria da sociedade do espetáculo; mas ainda assim uma aproximação rica para uma discussão psicanaliticamente orientada sobre a sociedade capitalista avançadaThis work intends to present the theory of Guy Debord to psychoanalytic discussions related to social and political theory. To this end it is proposed to trace the conceptual constitution of his society of the spectacle theory, born from the conjunction of the discussions from the critique of political economy in the Marxist camp and the theme of the surpassing of art in the artistic avant-garde, linking this conjunction to the theoretical approaches that Debord makes to psychoanalysis. At a first moment the theory of the spectacle is presented as the update of alienation, reification and commodity fetishism in contemporary societies, then this reflection is linked to the Freudian dream theory through the analogy of the spectacle as a bad dream. In a second step the theory of the surpass of the spectacle is presented through the internal contradictions of advanced capitalism and the pursuit of revolution, then linking this discussion with psychoanalysis through the approximation of capitalism as an economic unconscious that must be brought to consciousness by the revolutionary practice. Finally it is concluded that although Debord is a reader of Freud, his approaches are a particular use of the psychoanalytic theory to the explanation of the society of spectacle theory, but it is still a rich approach for a psychoanalytically oriented discussion of the advanced capitalist society
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Bueno, Douglas Aparecido. "Guy Debord e a nova fase do espetáculo." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20108.
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The thesis deals with the spectacle of Guy Debord theory under the aegis of its artistic, political and philosophical influences, putting in relief their main contributions to the analysis and overcoming of the spectacle. The spectacle, to Debord, is a relationship alienated for social and historical construction, which overcomes the media criticism, as is commonly assumed. The thesis reveals that the theory of the spectacle, in its origin, is a philosophical reflection on the story time, and in the light of hermeneutics interprets own theory on that basis. Analyze the theory of the spectacle, from the standpoint of time and story ideas, it offers a way to resolve the hegelian marxism of Guy Debord. The hegelian marxism Debord connects, in theory, its theoretical and philosophical interests in the concepts of strategy, chance and play, from the existential principles and based on these issues, investigates and theorizes the practice, political action in time and social history as a means to overcome the spectacle, or give you a new phase. Furthermore, to the extent that delimits the theory of this epistemological framework, it is apparent deficiencies. The theory of the spectacle is based on the unified separation of the actions of the subject (historical and social) and social interpretation under the same heading, which in turn replaces the Marxian analysis of capital as an antagonistic social relationship rather than the abstract opposition between homogenized and alienated consciousness of history and the world. Although this aspect apparently theoretical problem is, the notions of subjectivity, time and history significant role for social analysis. Putting in relief the Guy Debord’s position that all social action and every theory must be considered as strategic interventions, and that every theory must be an invitation to overcome them, the thesis takes up the hegelian marxism Debord to suggest spectacle that the theory is a sui generis moment within a historical action design. This means that all Debord’s theory provides a collective political will model and suggests a reflection on the possibility of this hermeneutic be developed
A tese analisa a teoria do espetáculo de Guy Debord sob a égide de suas influências filosóficas, colocando em relevo as suas principais contribuições para a análise e superação do espetáculo. O espetáculo, para Debord, é uma relação alienada para a construção social e histórica, que sobrepuja a crítica da mídia, tal como é comumente assumido. A tese revela que a teoria do espetáculo, em sua origem, é uma reflexão filosófica sobre o tempo da história, e à luz dessa hermenêutica, interpreta a própria teoria nessa base. Analisar a teoria do espetáculo, sob o foco das ideias de tempo e história, oferece um caminho para se estudar o marxismo hegeliano de Guy Debord. O marxismo hegeliano de Debord se conecta, na tese, aos seus interesses teórico-filosoficos nos conceitos de estratégia e jogo, a partir dos princípios existênciais e com fundamento nestes temas, investiga e teoriza a práxis, a ação política no tempo e na história social como meios para se superar o espetáculo. Por outro lado, na medida em que se delimita a teoria sobre esse recorte epistemológico, ficam aparentes suas deficiências. A teoria do espetáculo está baseada na separação unificada das ações do sujeito histórico-social e na interpretação social sob a mesma rubrica, que por sua vez, substitui a análise marxiana do capital como uma relação social antagonica, em detrimento da oposição abstrata entre a consciência homogeneizada e alienada da história e do mundo. Muito embora essa vertente teorica, aparentemente, seja problemática, as noções de subjetividade, tempo e história assumem papel relevante para a análise social. Colocando em relevo as posições de Guy Debord de que toda ação social, bem como toda teoria devem ser analisadas como intervenções estratégicas, além de que toda teoria deve ser um convite à sua superação, a tese reveste-se do marxismo hegeliano de Debord para sugerir que a teoria do espetáculo é um momento sui generis dentro de uma concepção de ação histórica. Isso quer dizer que toda a teoria de Debord proporciona um modelo de vontade política coletiva, e sugere uma reflexão sobre a possibilidade dessa hermenêutica ser desenvolvida
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Flores, Iberico Héctor Martín. "Guy Debord y el problema de la mercancía." Master's thesis, Universidad Nacional Mayor de San Marcos, 2012. https://hdl.handle.net/20.500.12672/9570.
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Publicación a texto completo no autorizada por el autorEsta investigación reconstruye las fuentes filosóficas y las consecuencias del análisis que se plantea en “La sociedad del espectáculo” (SdE). Se sitúan las herencias teóricas de Guy Debord en relación con conceptos que el marxismo de izquierda pudo reivindicar como la centralización del problema de la alienación/enajenación por parte de Lukács y los análisis realizados por él a principios del siglo XX. Con la intención de superarla, Debord llevará al extremo la propuesta de “la economía contra la vida” (Jappe), situando el problema del capitalismo o Sociedad del Espectáculo, como una nueva fase del desarrollo capitalista. Para ello realizará una crítica de la producción de manera aislada, desde el polo del consumo, sin considerar la totalidad del proceso productivo (producción – circulación – distribución - consumo), en el sentido del marxismo tradicional. En ese contexto se inserta la crítica al ciudadano-espectador, al trabajador contemporáneo mareado y pasivo, por la inmensa oferta de mercancías. Este sujeto se conduce en relación a las imágenes de un mundo sobre el cual ha perdido toda capacidad de control. Las consecuencias de tal perspectiva son señaladas en la SdE como negativas. Debord caracteriza a las sociedades contemporáneas por su ausencia de vida (goce o gratificación), enfatiza la imposibilidad de existencia en el seno de una sociedad “falsa”. Ello ha conducido a algunos críticos como Frédéric Schiffter (2007) a plantear que la obra de Debord se inserta en la obra de Rousseau como búsqueda de una época pasada y feliz, en donde la comunicación era inmediata (y no mediada) y la gratificación natural no estaba falsificada por la mercancía. Es una crítica a nivel ontológico de los presupuestos de Debord como parte de una crítica al socialismo, que teorizaría el pasado de muchas sociedades como parte del futuro comunitario de la humanidad. Crítica bastante fundamentada tomando en cuenta los niveles de la antropología del siglo XIX en donde se exaltaba la idea de comunidades originarias “buenas”, “pacíficas”, “orgánicas” con respecto a la atomización o fragmentación que el reino de la mercancía había impuesto en su proceso de individuación social e impedía cualquier salida global frente a los problemas generales cuya base material no se cuestionaba y, por lo tanto, aquel estado de cosas se pretendía insuperable. En ese sentido, la tesis analiza los movimientos filosóficos del concepto de mercancía en “La sociedad del espectáculo”. Para ello, reconstruye dichos elementos desde la perspectiva de totalidad e interpreta la relevancia de la obra de Guy Debord para el marxismo contemporáneo.
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Allard, Stéphane. "Le marxisme de Georg Lukacs et de Guy Debord." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28593.
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Je pars du constat selon lequel le marxisme est en crise. Ceci dit, la question suivante se pose : le marxisme conserve-t-il une pertinence aujourd'hui ? Selon moi, les pensées de Georg Lukacs et de Guy Debord permettent de rendre compte de certaines transformations du capitalisme au XIX e et XXe siècles. Pour comprendre ces auteurs, il faut d'abord les situer dans leur contexte. Au coeur des pensées de ces auteurs se situent les concepts de réification, pour Lukacs, et de spectacle, pour Debord. Pour les élaborer, Lukacs et Debord ont tous deux accordé une grande importance aux notions marxiennes de fétichisme de la marchandise, de prolétariat et de praxis. Le dernier chapitre de la thèse présenté une mise en rapport de la pensée des deux auteurs. En conclusion, j'interroge le rapport de Lukacs et de Debord à ce que certains chercheurs ont appelé le romantisme révolutionnaire.
Mots-clés : Lukacs, Debord, capitalisme, marxisme, réification, spectacle, aliénation, romantisme, situationnisme, romantisme révolutionnaire
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Casale, Luis Gustavo. "Guy Debord e vanguardas: combate à sociedade do espetáculo." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/11616.
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The practical and theoretical activity of Guy Debord is marked by a strategy of refusal and combat which he called spectacle. He made his life trajectory an incessant war against the society of his time, in which understood the advent of commodity occupying all aspects of life, human and social, and consequently making it the totalizing domain of quantitative, reducing it to a mere game of appearances. Thus, this dissertation seeks to understand the nature of Debord s theoretical-practice activity, in the avant-garde groups that he directed, through themes that permeated this groups activities and also his writings and films, deliberately chosen as a strategic means to attack and refute the illusions of the spectacular-mercantile-society. At the end of the dissertation is noted that the avant-garde conception and theory in Debord has the same meanings, both are temporary, they should be used as a practical-critique of the present time, in the opportune moment. It was observed also by analyzing the concept of separation that the commodity fetish and reification reach the paroxysm in the society of the spectacle, historic stage of capital reproduction in which social relations are mediated by images
A atividade prático-teórica de Guy Debord é marcada por uma estratégia de recusa e de combate ao que ele denominou espetáculo. Ele fez de sua trajetória de vida uma guerra incessante contra a sociedade de seu tempo, na qual compreendeu o advento da mercadoria ocupando todos os aspectos da vida, humana e social e, consequentemente, tornando-a objeto do domínio totalizante do quantitativo, reduzindo-a a um mero jogo de aparências. Destarte, esta dissertação busca compreender a natureza da atividade prático-teórica de Debord, nos grupos de vanguarda que dirigiu, através da análise de temas que permearam as atividades desses grupos e também seus escritos e filmes, deliberadamente usados como meio estratégico de atacar e refutar as ilusões da sociedade-espetacular-mercantil. Ao fim da dissertação nota-se que a concepção de vanguarda e de teoria em Debord possui os mesmos significados, ambas são passageiras, devem ser utilizadas, como crítica-prática do presente, na ocasião oportuna. Observou-se, também, através da análise do conceito de separação, que o fetiche da mercadoria e a reificação chegam ao paroxismo na sociedade do espetáculo, fase histórica de reprodução do capital em que as relações sociais são mediatizadas por imagens
Books on the topic "Guy debord"
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Enrico, Ghezzi, and Knabb Ken, eds. Guy-Ernest Debord: Il cinema è morto. Ragusa: La fiaccola, 2005.
Find full textBook chapters on the topic "Guy debord"
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Tambling, Jeremy. "Debord, Guy." In The Palgrave Encyclopedia of Urban Literary Studies, 1–7. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-62592-8_84-1.
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Tambling, Jeremy. "Debord, Guy." In The Palgrave Encyclopedia of Urban Literary Studies, 509–15. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-62419-8_84.
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Penner, Devin. "6 Guy Debord and the Politics of Play." In Thinking Radical Democracy, edited by Martin Breaugh, Christopher Holman, Rachel Magnusson, Paul Mazzocchi, and Devin Penner, 165–86. Toronto: University of Toronto Press, 2015. http://dx.doi.org/10.3138/9781442621992-008.
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Demichelis, Lelio. "From Guy Debord to Pulsive Integrated Techno-Capitalism." In Marx, Engels, and Marxisms, 151–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07385-4_6.
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Hemmens, Alastair. "Guy Debord, the Situationist International and the Abolition of Alienated Labour." In The Critique of Work in Modern French Thought, 137–66. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12586-8_5.
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Mesing, Dave. "3 Guy Debord." In Agamben's Philosophical Lineage, 39–50. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474423656-005.
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Taylor, John. "Autobiography as Panegyric (Guy Debord)." In Paths to Contemporary French Literature, 257–60. Routledge, 2017. http://dx.doi.org/10.4324/9781315126104-51.
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Kaufmann, Vincent. "Guy Debord: kein Recht auf Einsicht." In Intermediale Inszenierungen im Zeitalter der Digitalisierung, 115–28. transcript Verlag, 2010. http://dx.doi.org/10.1515/9783839411919-006.
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"Guy Debord: kein Recht auf Einsicht." In Intermediale Inszenierungen im Zeitalter der Digitalisierung, 115–28. transcript-Verlag, 2010. http://dx.doi.org/10.14361/9783839411919-006.
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Beer, Susanne. "100. Guy Debord, La Société du Spectacle." In Schlüsselwerke der Kulturwissenschaften, 301–4. transcript Verlag, 2012. http://dx.doi.org/10.1515/9783839413272-101.
Full textConference papers on the topic "Guy debord"
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Motaianu, Mihaela, and Cornelia Motaianu. "Signs and Emotions as the Experience of the Urban Explorer." In World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/48.
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Although we have the impression that we understand the urban texture in which we live, the city still holds surprises in the way it communicates everyday aspects, situations, and cultural history.The experience of the urban explorer, that flâneur/stroller mentioned by Guy Debord (1955) and the Situationist school, was until recently only a literary experience. The emotion of discovering the unusual in the urban daily life was communicated only in the form of textual narratives (Sinclair, 1997). Recently the psychogeographical approach to the city has become again a topic of interest. Although contemporary design transposed the behavioral codes of urban life into signs, it did not propose emoticons for the phenomenological experience of one who experiences the city. The original purpose of this paper is to translate the phenomenological experience of the urban explorer into infographics (which translates complex concepts into signs with condensed meaning) and to quantify and communicate emotionally and visually, the experience of the "invisible" [out of sight] cultural details to the hurried passerby. This paper will discuss the phenomenological (psychogeographical) experience of the city transferred into visual signs will be presented. The authors insist on the communicative value of infographics in making visible the hidden beauty of the city, the historical and esthetical details that are not seen by the passersby on the street, proposing a new urban visual language accompanied by visual design theory and cultural history explanations.
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Serra Navarro, David. "Deriva y medios locativos: prácticas georeferenciadas." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4801.
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La experiencia constituida mediante la interfaz nos sitúa en un punto común en el que converge la representación virtual condicionada por la ubicación real, un estadio de mixed reality (Hansen, 2006) en el que se dan los elementos necesarios para el desarrollo de una nueva realidad mediada. Un recorrido procesual que se asemeja a los posicionamientos situacionistas y a la noción de psicogeografía como comportamiento constructivo de significaciones. La actualización del territorio-juego de Guy Debord en relación con los medios locativos de los dispositivos tecnológicos ofrecen un repertorio conceptual que nos induce a reflexionar sobre los límites del espacio público, su expansión en el canal virtual y la transformación dinámica de una geografía cada día más líquida. La interacción entre flujos comunicacionales y coordenadas en el mapa se nutren de la actividad cotidiana de los usuarios, ahora activos y contributivos, y dibujan un conjunto de signos anclados en el lugar y su tiempo que nos generan nuevas narrativas y percepciones. En este contexto se desarrolló el taller Geotagging the city dirigido por el artista Kenneth Russo en el marco del Festival de Cultura Contemporània de l'Empordà: Ingràvid 2016. Una propuesta de educación artística, en la que los jóvenes participantes eran alumnos de bachillerato artístico, y que nos describe un conjunto de prácticas contemporáneas con herramientas tecnológicas cotidianas y de uso locativo. Extrapolar la concatenación de acciones reproducidas en las diferentes sesiones de dicho workshop nos acerca a un entendimiento de lo glocal en el marco social y su sentido en el aula para la formación artística.http://dx.doi.org/10.4995/ANIAV.2017.4801
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Ismail, Mohd Izuddin Bin, Sunanda Magna Bela, Saharul Hashim, Khai Lun Tham, Cheol Hwan Roh, Siti Nur Mahirah Bt M Zain, Nur Hidayah M. Zamani, and Jagaan AL Selladurai. "7in Enhanced Single-Trip Multizone System ESTMZ: Fracturing Design, Execution and Operation Lessons Learnt in Highly Deviated Well with Nearby Shale, Coal and Water Contact." In Offshore Technology Conference Asia. OTC, 2022. http://dx.doi.org/10.4043/31496-ms.
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Abstract Objectives/Scope Wellbore enlargement technique such as hydraulic fracturing or frac packing (or extension pack using linear gel) treatment is very much required in the brown field reservoirs with unconsolidated sands, poor sorting, and uniformity coefficient as well as very high fine content. The cost escalates when this requirement happens for multiple zones which needs longer rig time. This paper will discuss on the execution part of 7" ESTMZ system deployment, extension pack design, lessons learnt and required mitigation on the system itself. Conventionally, most of the operator will perform extension pack operation using stack-pack technique which required longer rig time, due to repetition of perforation, deburring and installation of gravel pack assembly which followed by gravel placement operation based on number of zones. Further optimization is the Single Trip Multi Zone (STMZ) system developed to enable multi zones gravel placement treatment and installation done in single trip in order to reduce the rig time. However, the 7" STMZ system is still have some limitation on its pumping capability due to system design and high friction pressure hence unable to be used for any frac-pack or extension pack treatment. Methods, Procedures, Process The next generation of 7" ESTMZ system was introduced to overcome all the limitation of its predecessor and enables the frac-pack operation to be performed in a single trip manner which assuredly reduced considerable rig days. Furthermore, this system can eliminate deployment of inner string inside lower completion assemblies for zonal isolation and reservoir selectivity which can be risky especially in highly deviated wells. This system comes with modular screen design with integrated sliding sleeve with proprietary shifting profile. Like the conventional stack pack system, a sump packer will be run in hole via wireline and tractor as a base for sump area and depth reference. Then, the well is perforated with oriented gun and selected perforation technique for all zones in a single trip followed by debur run using wellbore clean out BHA. ESTMZ assembly is deployed to cover all zones with single concentric wash pipe system for the treatment. The zone interval length and zonal spacing are fully independent and may come with various length as oppose to the STMZ system. Hence, no dummy zone is required. Results, Observations, Conclusions The gravel placement design for this particular field was designed precisely to contain the growth to avoid fracturing into the nearby coal, shale, and water contact region. As a result, the reservoirs were successfully treated with extension pack of 220lb/ft packing factor at highest proppant concentration of 4.8ppg and 10bpm pumping rate. Novel/Additive Information The technology discussed in this paper is a first in the world application in highly deviated well category where the author is intended to register the pain points as well as best practices to be replicated.