Society of the Spectacle #11

@Exploring the Situationists is an ongoing series of Zoom sessions where I (Ken Knabb) comment on various situationist texts, followed by Q&A and discussion. The sessions are being recorded and posted on RUclips. From September 2023 to January 2024 we went through the "Situationist International Anthology: Revised and Expanded Edition" (10 sessions). Following a short break, we have resumed with Guy Debord's "The Society of the Spectacle." We are are doing a close reading of my annotated translation of the book, and it will probably take us around 15 sessions to get through it.
Participation is free. If you're interested in joining the live sessions (which take place every other Sunday, 5:00-7:00pm Pacific Time) please contact me at knabb AT bopsecrets DOT org
During this session #11 (August 11, 2024) we viewed and discussed the last half of Debord's FILM "The Society of the Spectacle" (1973). I also read part of the text of Debord's short follow-up film: "Refutation of All the Judgments, Pro or Con, Thus Far Rendered on the Film 'The Society of the Spectacle' " (1975).
The text of the book can also be found online at www.bopsecrets...

[@ericgenaroflores7069]

Ken. I just wanted to clear up the confusion I was trying to express by absolute will power postulated by Julius evolas magical idealism the quote is from cologero salvo
Everything I cannot act on, everything that resists my will, is only a privation of this very will, something negative, not a being, but a non-being, hence the realist must be rejected out of hand. He is in his reference to something else, God,noumenon, substance etc. Makes a being out of non-being. Calls real something that, being only a privation of my power, being nothing other than than a negation and a void in the un-multipliable body of my activity, should instead by right be called unreal. Thus he confirms his very privation, as he eschews it. Instead of the act by controlling and possessing them, and all those things that redeem the privation, he substitutes the act that recognizes them and certificately gives them being in an autonomous reality. To the former act, he instead applies the criterion of certainty of the third stage, that is, he demands that the free and naked eye of the individual can generally assert the principle of absolute idealism, and I will say, in truth, I myself am the cause and the order of this world in which I live. But when will it be possible to assert that? Obviously when the individual has redeemed the dark passion of the world in the body of freedom, when the form according to which he lives has left the representative activity, that is, the activity through which the spectacle of the universe is formed in him, has passed from spontaneity, from the harmony of the possible world, to bare unconditioned causality, that is, to potent will.

[@OliveJewel]

What is that beautiful violin music that plays periodically throughout the film? 31:06

[@Ken-Knabb]

Michel Corrette's Sonata in D Major for Cello and Harpsichord.

[@OliveJewel]

@@Ken-Knabb thank you!