Stanziale Pasquale is one of the greatest scholars of the Italian Situationist and work of Guy Debord. We start to publish the report held at the conference "The Situationist International to the test of time", held in 2008 at the University of Naples "Federico II".
Pasquale Stanziale
spectra Situationists
The wind and water marketing in the future
The wind and water marketing in the future
1 - The avant-garde and the time
1.1
Man in a dimension of H. Marcuse was published in 1964, while in Los Angeles was released in 1949 del'illuminismo Dialectic of TW Adorno and M. Horkheimer's writings were published in 1966 by J. Lacan, The Order of Things by M. Foucault, 1966, Mytologies R. Barthes sees the light in 1970, Critique of everyday life of H. Lefebvre, 1962, Logic of the direction of G. Deleuze was published in 1968, while in those years is already in the library's book G. Lukacs on the young Marx, and then in 1960 History and Class Consciousness. The society of the spectacle of G. Debord and the Treaty of etiquette for use by younger generations of R. Vaneigem see the light in 1967. From 1958 to 1969 the magazine is published in Paris Internationale Situationniste.
1.2
write M. Hardt and A. De Negri in Empire, about the society of the spectacle: "Even in his own delusional way, it is probably the best articulation of the contemporary awareness of the triumph of capital." And on a later page the authors add that "more than thirty years after its submission Guy Debord's analysis of the society of the spectacle is becoming increasingly relevant and urgent. In imperial society, the show deals with a virtual space, or, strictly , not a political place. The show is brought together and spread in such a way that is impossible distinction between inside and outside - natural or social, private or public "(M. Hardt A. Negri 2002).
E N. Klein in No Logo about interventions known as the interference of culture (culture jamming - New York 2000) Guy Debord and the Situationists were inspiring and theorists of student uprisings in Paris in May 1968, the first to theorize the power of a simple détournement, a diversion intended as extrapolation of images, messages and objects from their context to create a new meaning. "(N. Klein 2001).
In a paradoxical happiness G. Lipovetsky (2007) notes that" the subjectivity of the new consumer in the report says more to himself than in the object. Come scriveva Guy Debord “lo spettacolo è il cattivo sonno della società moderna incatenata che non esprime in definitiva se non il suo desiderio di dormire"." Più avanti Lipovetsky inizia il capitolo Piaceri privati, felicità dolente con l’incipit del Capitale richiamato dal deturnamento debordiano: "L’intera vita delle società sovrasviluppate si presenta come un immenso accumulo di segni del piacere e della felicità."
1.3
L’avanguardia situazionista è stata figlia del proprio tempo, lo ha appreso con il pensiero, ma come ogni avanguardia degna di rispetto ha aperto a nuove prospettive, a nuovi processi conoscitivi, a percorsi inediti. Si tratta, quindi, di riaffermare ulteriormente (A. Jappe 1999) the value of the theories relating to the spectacle through a series of steps, references and facts, with references also to the cultural studies. A set of tests to be considered as a contribution to a critical theory of society of our time. This beyond opposition and attempts Final Budget (F. D'Agostini 1999). Of course there is the last word in this context it is important to identify symptoms, signs, nuclei theory.
1.4
Debord is the era of stabilization of capitalism-in the initial phase of economic globalization-one that outlined a synthesis rather than original art, philosophy and politics. These three areas are articulated in a coherent way in the Situationist Debord. 1.5 The background
artistic, philosophical and political Debord was written, and very explicitly (including all A. Jappe 1999) and also the writer has examined this background indicating the main routes (P. Stanziale 1998 2002). I think it is useful to (re) consider what Debord produced in the '50s. A production that, on the one hand, represents the first synthesis of the influences and development by another party structure so significant to the core theorists who later develop Debord.
Lettrists 1.5.a-I, which Debord joins in the early '50s, incorporate themes of the first Surrealist and Dada. They want first of all artistic forms of self-destruction. The traditional art is sentenced to death and it is proposed the technique of détournement (creative reuse of existing elements). Lettrists I tend to overcome the distinction between artist and audience, between art and life. It observes, moreover, a definite closeness between the physical appearance and actions with the first lettriste surrealism: the refusal of work, maximalist aspiration to revolution, the affirmation of subjectivity and a certain tendency to secession and exclusion. It affirmed the idea that the elements of a free life are already present in the culture as in the technique: they only be organized differently. At the heart of lettriste instances there is the poetic construction of situations, the affective states corresponding to a new way of living. Other important issues, seen in a Marxist perspective, are urbanism and everyday life, the latter mainly studied by H. Lefebvre, author of the Critique de la vie quotidienne. With Lefebvre and the Situationists later Debord break so sensational. Since 1953 the
1.1
Man in a dimension of H. Marcuse was published in 1964, while in Los Angeles was released in 1949 del'illuminismo Dialectic of TW Adorno and M. Horkheimer's writings were published in 1966 by J. Lacan, The Order of Things by M. Foucault, 1966, Mytologies R. Barthes sees the light in 1970, Critique of everyday life of H. Lefebvre, 1962, Logic of the direction of G. Deleuze was published in 1968, while in those years is already in the library's book G. Lukacs on the young Marx, and then in 1960 History and Class Consciousness. The society of the spectacle of G. Debord and the Treaty of etiquette for use by younger generations of R. Vaneigem see the light in 1967. From 1958 to 1969 the magazine is published in Paris Internationale Situationniste.
1.2
write M. Hardt and A. De Negri in Empire, about the society of the spectacle: "Even in his own delusional way, it is probably the best articulation of the contemporary awareness of the triumph of capital." And on a later page the authors add that "more than thirty years after its submission Guy Debord's analysis of the society of the spectacle is becoming increasingly relevant and urgent. In imperial society, the show deals with a virtual space, or, strictly , not a political place. The show is brought together and spread in such a way that is impossible distinction between inside and outside - natural or social, private or public "(M. Hardt A. Negri 2002).
E N. Klein in No Logo about interventions known as the interference of culture (culture jamming - New York 2000) Guy Debord and the Situationists were inspiring and theorists of student uprisings in Paris in May 1968, the first to theorize the power of a simple détournement, a diversion intended as extrapolation of images, messages and objects from their context to create a new meaning. "(N. Klein 2001).
In a paradoxical happiness G. Lipovetsky (2007) notes that" the subjectivity of the new consumer in the report says more to himself than in the object. Come scriveva Guy Debord “lo spettacolo è il cattivo sonno della società moderna incatenata che non esprime in definitiva se non il suo desiderio di dormire"." Più avanti Lipovetsky inizia il capitolo Piaceri privati, felicità dolente con l’incipit del Capitale richiamato dal deturnamento debordiano: "L’intera vita delle società sovrasviluppate si presenta come un immenso accumulo di segni del piacere e della felicità."
1.3
L’avanguardia situazionista è stata figlia del proprio tempo, lo ha appreso con il pensiero, ma come ogni avanguardia degna di rispetto ha aperto a nuove prospettive, a nuovi processi conoscitivi, a percorsi inediti. Si tratta, quindi, di riaffermare ulteriormente (A. Jappe 1999) the value of the theories relating to the spectacle through a series of steps, references and facts, with references also to the cultural studies. A set of tests to be considered as a contribution to a critical theory of society of our time. This beyond opposition and attempts Final Budget (F. D'Agostini 1999). Of course there is the last word in this context it is important to identify symptoms, signs, nuclei theory.
1.4
Debord is the era of stabilization of capitalism-in the initial phase of economic globalization-one that outlined a synthesis rather than original art, philosophy and politics. These three areas are articulated in a coherent way in the Situationist Debord. 1.5 The background
artistic, philosophical and political Debord was written, and very explicitly (including all A. Jappe 1999) and also the writer has examined this background indicating the main routes (P. Stanziale 1998 2002). I think it is useful to (re) consider what Debord produced in the '50s. A production that, on the one hand, represents the first synthesis of the influences and development by another party structure so significant to the core theorists who later develop Debord.
Lettrists 1.5.a-I, which Debord joins in the early '50s, incorporate themes of the first Surrealist and Dada. They want first of all artistic forms of self-destruction. The traditional art is sentenced to death and it is proposed the technique of détournement (creative reuse of existing elements). Lettrists I tend to overcome the distinction between artist and audience, between art and life. It observes, moreover, a definite closeness between the physical appearance and actions with the first lettriste surrealism: the refusal of work, maximalist aspiration to revolution, the affirmation of subjectivity and a certain tendency to secession and exclusion. It affirmed the idea that the elements of a free life are already present in the culture as in the technique: they only be organized differently. At the heart of lettriste instances there is the poetic construction of situations, the affective states corresponding to a new way of living. Other important issues, seen in a Marxist perspective, are urbanism and everyday life, the latter mainly studied by H. Lefebvre, author of the Critique de la vie quotidienne. With Lefebvre and the Situationists later Debord break so sensational. Since 1953 the
Lettrists psychogeographical deal of research, namely the relationship between environments and moods. The technique is outlined in the agreement comes as a series of random steps and emotionally significant between different areas and urban neighborhoods. I work with Lettrists la rivista surrealista Les lèvres nues di cui fanno parte A. Jorn e Constant provenienti dal Gruppo Cobra.
1.5.1
Il deturnamento del cinema avviene in piena atmosfera lettrista (nel 1951 a Cannes Debord ha incontrato i lettristi) e trova una prima attuazione con Hurlements en faveur de Sade (“Il n’y a pas de film. Le cinéma est mort. Il ne peut plus y avoir de film. Passons, si vous voulez, au débat”) del 1952, quando ormai Debord si è stabilito a Parigi. Successivamente, nel 1954, vede la luce Potlatch e Debord incontra Asger Jorn.
Nel 1957 viene fondata l’Internationale Situationniste e Debord scrive uno dei documenti-cardine del situazionismo: Rapport sur la construction Situations et des sur les Conditions de l'Organisation et de l'action de la tendance situationist internationale. This document, together with image and form (Mouvement International pour une Bauhaus image) of A. Jorn (1954) (L. Caruso SM Martini in 1975) constitute a significant set of the original phase of situationist theory and the development of its direct or collateral.
1.5.2 The text of Asger Jorn anticipates themes taken up in the sixties and their relationship to the economy-art, to reification, the work of art as a counter-value. In this text, quite articulate, are initially considered forms of modern development of painting, sculpture and architecture. He denounced the initiative of Frank Lloyd Wright to build a museum that turns out to be an environment in which "are buried works of art without first passing in everyday life."
It then goes to a critique of architecture, intended as "art to shape our environment," but now immobilized on old problems, without a fresh perspective to redefine the relationship between man and environment. Hence the need to "transform functional programs beyond any absolute necessity of the object." Jorn then try to redraw a dynamic conception of form and change, highlighting several significant parameters:
- the formal evoluziome place through sudden tears;
- use creates the ideal shape, there are a
-conservatism and radicalism of the shapes of the forms themselves.
All of this is to be a starting point for a new proactive Bauhaus, which by Jorn must have a breath international art and based on a defined body of doctrine, structured around a 'single dialectical definition of art on three areas:
- aesthetics: art is the creation of the not-known, it is impossible to achieve, is the main reference point man and his full chance;
- Ethics: l ' Art is the reality subjective, is the ability of a being or a community, is the expression of a vital event;
- logical or scientific: the art is nature seen as a temperament, is a faithful image of the object, it 's observation is not affected.
These three areas are the three perspectives of analysis of art:
- aesthetic analysis on the sensory effects of shock and novelty of the art object;
- ethical analysis on the usefulness , to human interests and social functioning of the art object;
- scientific analysis on the construction of the art object in relation to their capacities.
Jorn look with this-which is a real program of action and analysis with clear political perspective-seeking to overcome the doctrinaire formalism due to the renewed Gropius and the Bauhaus and even for the fact that it would be foolish to ignore that "... has meanwhile imposed surrealism .... " From this manifesto launch took splits and formation of groups and movements including the magazine Reflex, the group De Stijl, Cobra magazine. Then we have the confluence Internationale lettriste in the Imagist movement to the Bauhaus. We are in 1956. In 1957 GE Debord begin to talk about the construction of situations.
1.5.3
Il testo di Debord Sur la construction des situations et sur les conditions de l'organisation et de l'action de la tendance situationniste internationale è un rapporto del Comité Psychogéographique de Londres presentato, nel 1957, ai membri dell'Internationale lettriste del movimento per una Bauhaus Imaginiste come base di discussione e come documento per la propaganda (in L. Caruso S. M. Martini cit). Con questo documento Debord traccia l'ambito teorico di base del Situazionismo individuando due prospettive di indubbia valenza strategica: un rinnovato valore politico dell'arte di là da ogni valore di scambio borghese e la critica serrata dell'industria culturale, proseguendo, in un certo modo, sulla via aperta dalla Scuola di Francoforte. L'unificazione of the two perspectives is advocated as part of a revolution to be carried out through the workers' parties. Key points of this revolution will be the construction of situations (situations which, incidentally, are naturally compatible with the only possible form of organization that is made by the theorists of the Councils of Socialism), a different land use through the concept of unitary urbanism The agreement comes as an emotional game-space on a creative use of spaces and the delineation of a new area of \u200b\u200bresearch, that psychogeographic on the relationship between the environment and individual behavior. We finally détournement (see section 1.5.a), a practice of displacement, of contextualization and creative reuse of elements of bourgeois culture. This is clearly a document that already defines all the critical lines in the journal Internationale Situationniste. The document is divided into six parts are:
- ethical analysis on the usefulness , to human interests and social functioning of the art object;
- scientific analysis on the construction of the art object in relation to their capacities.
Jorn look with this-which is a real program of action and analysis with clear political perspective-seeking to overcome the doctrinaire formalism due to the renewed Gropius and the Bauhaus and even for the fact that it would be foolish to ignore that "... has meanwhile imposed surrealism .... " From this manifesto launch took splits and formation of groups and movements including the magazine Reflex, the group De Stijl, Cobra magazine. Then we have the confluence Internationale lettriste in the Imagist movement to the Bauhaus. We are in 1956. In 1957 GE Debord begin to talk about the construction of situations.
1.5.3
Il testo di Debord Sur la construction des situations et sur les conditions de l'organisation et de l'action de la tendance situationniste internationale è un rapporto del Comité Psychogéographique de Londres presentato, nel 1957, ai membri dell'Internationale lettriste del movimento per una Bauhaus Imaginiste come base di discussione e come documento per la propaganda (in L. Caruso S. M. Martini cit). Con questo documento Debord traccia l'ambito teorico di base del Situazionismo individuando due prospettive di indubbia valenza strategica: un rinnovato valore politico dell'arte di là da ogni valore di scambio borghese e la critica serrata dell'industria culturale, proseguendo, in un certo modo, sulla via aperta dalla Scuola di Francoforte. L'unificazione of the two perspectives is advocated as part of a revolution to be carried out through the workers' parties. Key points of this revolution will be the construction of situations (situations which, incidentally, are naturally compatible with the only possible form of organization that is made by the theorists of the Councils of Socialism), a different land use through the concept of unitary urbanism The agreement comes as an emotional game-space on a creative use of spaces and the delineation of a new area of \u200b\u200bresearch, that psychogeographic on the relationship between the environment and individual behavior. We finally détournement (see section 1.5.a), a practice of displacement, of contextualization and creative reuse of elements of bourgeois culture. This is clearly a document that already defines all the critical lines in the journal Internationale Situationniste. The document is divided into six parts are:
and counter-revolution in modern culture;
-the break, the highest stage of bourgeois thought, towards a
-Situationist International;
-safe platform for an opposition;
-role Minority of trends during the ebb;
-our immediate tasks.
In the first part of the main assumption is that "what we call culture reflects and anticipates, in a society date, the possibility of organizing life. Our age is characterized mainly by the delay of the revolutionary politics than to developing the potential of modern production, which require a higher organization of the world. "This is because" each year is increasingly becoming quite the problem domain of the productive forces and rational the formation of civilizations around the world. "
Capitalism also" invents new forms of struggle-controlled economy of the market "and that using" the degeneration of the directions of workers and neutralizing reformist tactics by the oppositions of class. "Clearly, forward projection of this analysis that foreshadow problems associated with economic globalization, the strategies of world capitalism and the rise of a bourgeoisie that Debord detourner frames as committed to the taste of the new forms into harmless and confused.
Capitalism also" invents new forms of struggle-controlled economy of the market "and that using" the degeneration of the directions of workers and neutralizing reformist tactics by the oppositions of class. "Clearly, forward projection of this analysis that foreshadow problems associated with economic globalization, the strategies of world capitalism and the rise of a bourgeoisie that Debord detourner frames as committed to the taste of the new forms into harmless and confused.
Debord then examine the paths of Futurism, Dadaism and Surrealism, highlighting their degeneration. The conclusion of this first part is that "we must go further and streamline your world, the first condition to make it more exciting." In this context M. Löwy (2001) points out that Debord, in relation to Breton, it is more rational and near the French materialism of the Enlightenment
1.5.4 In the second part is further developed a critical analysis of bourgeois culture as regards the various literary and artistic trends in general, but also religious. The focus of this analysis is that "the crisis of modern culture as a decaying ideological ends. Nothing new has drawn on these ruins and the simple exercise of critical thinking becomes impossible as each decision is in conflict with each other, each refers to residues of old systems together now, or sentimental personal imperatives. The decay has spread to everything. It is so massive use of commercial advertising affect more and more on assessments relating to the creation of culture, what was a antico processo. Si è giunti ad uno stato di assenza ideologica in cui agisce solo l'attività pubblicitaria, escluso ogni giudizio critico preliminare, ma non senza attivare un riflesso condizionato del giudizio critico."
Siamo, in effetti, alla stessa chiaroveggenza della Società dello spettacolo, alla denuncia di stereotipi imposti all'immaginario collettivo di cui il fenomeno Sagan-Drouet ne è uno dei più rilevabili alla fine degli anni '50. Anche l'architettura non sfugge a questo disfacimento che ha tout gagné. Debord conclude accennando ad una possibile presa di coscienza della decadenza del pensiero borghese da parte delle minoranze dell'avanguardia come punto di partenza per un rinnovato pensiero critico.
1.5.5 In the third part
Debord focuses its proposals for action primarily on the construction of "quota settings of life and their transformation into higher-order emotional quality." Hence the concept of unitary urbanism "to be achieved through the use of all the arts and techniques as means that can lead to a full structure of the environment." This in a dynamic and experimental, not excluding, for example, the construction of neighborhoods were soul-it is possible to think that "each district of a city will cause tenderera a simple feeling that the subject will be exposed with knowledge of the facts .
Debord writes, then the game situazionista come di una attività che recupera l'unità della vita di là dalle separazioni poste in atto dalla borghesia e riscontra "nell'abbondanza di bassezze televisive una delle ragioni dell'incapacità della classe operaia americana a politicizzarsi." Il comportamento della deriva (in tale ambito Debord postula l'uso creativo della televisione e del cinema come rappresentazione diretta di un attualità giocata) e le analisi psicogeografiche rientrano per Debord in una pratica relativa al fatto che "la vita di un uomo è una successione di situazioni fortuite di cui si ha, sia che le une non sono proprio simili alle altre che esse, nella gran maggioranza, tanto indifferenti e appannate, danno perfettamente l'impressione della somiglianza." Is particularly important to the conflict between desire and reality hostile to that desire: what appears to be a sense of temporal flow. "
1.5.6 The fourth and fifth structure an organizational approach and outline the path analysis of the avant garde artistic breakthrough for all that concerns the relationship between cultural creativity and world revolution.
1.5.7
Debord last part briefly deals with the forms of opposition to the capitalist way of life and in particular the need to "destroy, by all means hyper-political, the bourgeois ideal of happiness." We have to present a revolutionary alternative to the dominant culture. Why "Have been interpreted quite the passions: it is time to find others."
1.5.4 In the second part is further developed a critical analysis of bourgeois culture as regards the various literary and artistic trends in general, but also religious. The focus of this analysis is that "the crisis of modern culture as a decaying ideological ends. Nothing new has drawn on these ruins and the simple exercise of critical thinking becomes impossible as each decision is in conflict with each other, each refers to residues of old systems together now, or sentimental personal imperatives. The decay has spread to everything. It is so massive use of commercial advertising affect more and more on assessments relating to the creation of culture, what was a antico processo. Si è giunti ad uno stato di assenza ideologica in cui agisce solo l'attività pubblicitaria, escluso ogni giudizio critico preliminare, ma non senza attivare un riflesso condizionato del giudizio critico."
Siamo, in effetti, alla stessa chiaroveggenza della Società dello spettacolo, alla denuncia di stereotipi imposti all'immaginario collettivo di cui il fenomeno Sagan-Drouet ne è uno dei più rilevabili alla fine degli anni '50. Anche l'architettura non sfugge a questo disfacimento che ha tout gagné. Debord conclude accennando ad una possibile presa di coscienza della decadenza del pensiero borghese da parte delle minoranze dell'avanguardia come punto di partenza per un rinnovato pensiero critico.
1.5.5 In the third part
Debord focuses its proposals for action primarily on the construction of "quota settings of life and their transformation into higher-order emotional quality." Hence the concept of unitary urbanism "to be achieved through the use of all the arts and techniques as means that can lead to a full structure of the environment." This in a dynamic and experimental, not excluding, for example, the construction of neighborhoods were soul-it is possible to think that "each district of a city will cause tenderera a simple feeling that the subject will be exposed with knowledge of the facts .
Debord writes, then the game situazionista come di una attività che recupera l'unità della vita di là dalle separazioni poste in atto dalla borghesia e riscontra "nell'abbondanza di bassezze televisive una delle ragioni dell'incapacità della classe operaia americana a politicizzarsi." Il comportamento della deriva (in tale ambito Debord postula l'uso creativo della televisione e del cinema come rappresentazione diretta di un attualità giocata) e le analisi psicogeografiche rientrano per Debord in una pratica relativa al fatto che "la vita di un uomo è una successione di situazioni fortuite di cui si ha, sia che le une non sono proprio simili alle altre che esse, nella gran maggioranza, tanto indifferenti e appannate, danno perfettamente l'impressione della somiglianza." Is particularly important to the conflict between desire and reality hostile to that desire: what appears to be a sense of temporal flow. "
1.5.6 The fourth and fifth structure an organizational approach and outline the path analysis of the avant garde artistic breakthrough for all that concerns the relationship between cultural creativity and world revolution.
1.5.7
Debord last part briefly deals with the forms of opposition to the capitalist way of life and in particular the need to "destroy, by all means hyper-political, the bourgeois ideal of happiness." We have to present a revolutionary alternative to the dominant culture. Why "Have been interpreted quite the passions: it is time to find others."
1.6
Related to this analysis, the following films Debord, Sur le passage de quelques personnes à travers a assez courte unité de temps, and the 1959 Critique de la séparation, 1961, in which now emerging that the theme of time, together with that of subjectivity and scope of objectification, reification and ideology, outlines a set of pole around which a part of Debord's theories.
1.6.a-The problem of time will take shape in various ways in the work of Debord, here (in Sur le passage .. Critique and ..), as in the film In girum imus nocte et igni consumimur, temporality, longing, rejection, are to be the central elements of a narrative that Löwy place in the genre of black romanticism with reference to "that utopian and subversive tradition of romance that runs from William Blake to William Morris and Charles Fourier to André Breton's novel ... black of the eighteenth century "(M. Löwy cited).
-1.6.b The problems of time-and consumption-are free, directly or indirectly in almost all the work of Debord. "We have nothing except our time enjoyed by the same people who have no home." (Gracian B. G. Debord in 2002). It is closely connected with the subjectivity and the social scene of his era. Among the various references are the rejection of temporality and aging time and "the feeling that all is lost in the dust of time."
Sur le passage ... In 1959, Debord writes, "I let him do the time. I gave up what needed to defend." And in that film that is consistently iconoclastic ... In girum - films in which appropriately enough Lowy (2001) identifies "a beautiful text in writing, the language poetic, philosophical, social and political time" - Guy Debord (1978) states that " The feeling of the passage of time has always been very much alive for me. "
1.6.c-Even as regards the time horizon of art becomes a fundamental dimension. For Debord (and consistently) the art is what the event eternizza lived subtracting the flow of time. Obsessed by what is objectification and reification Debord believes that what counts is the work of art in its immediate consumption, rejecting its commodity-form and its conservation (M. Perniola 1998). The subject creator and the act are creative (as in the first Surrealist), all the art for Debord (but also supports a limit as appropriate Perniola cit.), This is a space-time situational is a component of the event art. The moment of the experience exciting and creative reification prevails over individualism and narcissism (M. Perniola cited). The aesthetic activity is thus realized with the construction of space-time situations, environments in which people share and interact in a game of feelings and desires. The situation was built - as Debord defines it - is to become events, with the suspension of time and economic production, freeing the eros and the interplay between persons in a lively area in which you cancel any class difference. An authentic life should be, for Debord, an understanding of life as the sum of the transits can be realized through the continued expansion of the time series of these events.
1.6.d-Ne Society of the Spectacle chapters 5 and 6 deal with the temporal dimension (which we will discuss in the following chapter) we see that while there are various references to early in the critique of everyday life. In No 6 of the SI (1961) Prospects for changes in daily life conscious of Debord addresses the problem of consumption of lived time, denouncing the fact that in capitalist societies as long as the subject is not dedicated to the production-and asset-accumulation is considered lost time. This in a life characterized by alienation and exploitation and poverty tax, where there is scarcity of free time. Debord stresses in everyday life is left much of the wealth and vital energy: what constitutes a political problem that requires the revolutionary transformation of everyday life.
1.6.e-Regarding the subject overflow it is deeply marked by the passage of time. It is the subject of desire, what unites neighborhoods and moods. It is the creative subject that builds exciting situations. This subject tries to resist the reification and its ruling class is the proletariat, or the "vast majority of workers who have lost all power on the use of one's life." (G. Debord 2002).
The situation in their writings often insist the continuing denial of subjectivity to reduced survival (R. Vaneigem 2002), generally accepted and shared in the capitalist system. In this denial, after having made clear the strategies, they oppose a radical subjectivity (R. Vaneigem cited) arising from a reversal of social-historical perspective in which the poverty of everyday life becomes an area of \u200b\u200binvestment policy (P . Stanziale 1995) and the individual experience illuminated the value of subversive sentiments (R. Vaneigem cit).
(continued)
Stanziale Pasquale was born in Casciano di Sessa Aurunca in the province of Caserta, a graduate in Philosophy, Professor of History Philosophy in high schools and collaborates with universities and training agencies. He has extensive publications in the field of Humanities. Contributed to the magazine for the part socioantropologica aurunca Civilization. Among his publications Certifications and anomalies (Caserta 1999), research has become a classic study of local maps of alienation (Rome 1995), Political Philosophy essay, the translation of best-sellers the Society of the Spectacle G. Debord (Viterbo 2002). He also edited The Handbook etiquette for use by younger generations of R. Vaneigem (Viterbo 2004) and an anthology of authors Situationists (Viterbo 1998). Among recent publications Culture and Society in the South (Caserta 2007).
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