A Situationist map of Paris. Source: Spatial Design    Like the Situationists, protesters in Moscow are calling for greater participation and collaboration in creating the city. People are engaging in public life through activities like cycling, walking, conversation, sharing food and planting flowers. They are acting within legal limits, moving about in public and using public spaces for what they were meant for: public use!

A Situationist map of Paris. Source: Spatial Design Like the Situationists, protesters in Moscow are calling for greater participation and collaboration in creating the city. People are engaging in public life through activities like cycling, walking, conversation, sharing food and planting flowers. They are acting within legal limits, moving about in public and using public spaces for what they were meant for: public use!

A Situationist classic: Asger Jorn and Guy Debord's Fin de Copenhague: Design Observer

A Situationist classic: Asger Jorn and Guy Debord's Fin de Copenhague

A Situationist classic: Asger Jorn and Guy Debord's Fin de Copenhague: Design Observer

Mémoires (Memories) is an artist's book made by the Danish artist Asger Jorn in collaboration with the French artist and theorist Guy Debord. Printed in 1959, it is the second of two collaborative books by the two men whilst they were both members of the Situationist International.

Mémoires (Memories) is an artist's book made by the Danish artist Asger Jorn in collaboration with the French artist and theorist Guy Debord. Printed in 1959, it is the second of two collaborative books by the two men whilst they were both members of the Situationist International.

Guy Debord, 'Theory of the Derive' (1956) #experimentsinmotion #motion

Guy Debord, 'Theory of the Derive' (1956) #experimentsinmotion #motion

Example of Detournement technique. Page from "Memoires." Guy Debord and Asger Jorn, 1959. Resource: Kagablog. (n.d.). Retrieved from http://kaganof.com/kagablog/category/contributors/the-society-of-the-spectacle/

Example of Detournement technique. Page from "Memoires." Guy Debord and Asger Jorn, 1959. Resource: Kagablog. (n.d.). Retrieved from http://kaganof.com/kagablog/category/contributors/the-society-of-the-spectacle/

P. 9: The supreme "separation", the separation that affects relational channels, represents the final stage in the transformation to the "Society of the Spectacle" as described by Guy Debord. This is a society where human relations are no longer "directly experienced", but start to become blurred in their "spectacular" representation.

“The Society of the Spectacle” (Guy Debord, 1973, Full Movie)

P. 9: The supreme "separation", the separation that affects relational channels, represents the final stage in the transformation to the "Society of the Spectacle" as described by Guy Debord. This is a society where human relations are no longer "directly experienced", but start to become blurred in their "spectacular" representation.

Guy Debord: “Go beyond art,”1963. Oil painting on cloth, Kodak reversal film reproduction.WHEN THE DOCUMENT BECOMES THE SPECTACLE. (n.d.). Retrieved from http://leapleapleap.com/2013/07/when-the-document-becomes-the-spectacle/

Guy Debord: “Go beyond art,”1963. Oil painting on cloth, Kodak reversal film reproduction.WHEN THE DOCUMENT BECOMES THE SPECTACLE. (n.d.). Retrieved from http://leapleapleap.com/2013/07/when-the-document-becomes-the-spectacle/

Guy Debord “The more he identifies with the dominant images of need, the less he understands his own life and his own desires. The spectacle’s estrangement from the acting subject is expressed by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.” ― Guy Debord, The Society of the Spectacle

Guy Debord “The more he identifies with the dominant images of need, the less he understands his own life and his own desires. The spectacle’s estrangement from the acting subject is expressed by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.” ― Guy Debord, The Society of the Spectacle

Debord and Asger Jorn 'Mémoires' (1959) includes references to the 'Dérive', which would become known as Situationist Drift: the habit of walking aimlessly through a city in an attempt to find its spirit

Debord and Asger Jorn 'Mémoires' (1959) includes references to the 'Dérive', which would become known as Situationist Drift: the habit of walking aimlessly through a city in an attempt to find its spirit

Example of Detournement technique. Page from "Memoires." Guy Debord and Asger Jorn, 1959. Resource: Kagablog. (n.d.). Retrieved from http://kaganof.com/kagablog/category/contributors/the-society-of-the-spectacle/

Example of Detournement technique. Page from "Memoires." Guy Debord and Asger Jorn, 1959. Resource: Kagablog. (n.d.). Retrieved from http://kaganof.com/kagablog/category/contributors/the-society-of-the-spectacle/

Constant's New Babylon, and his 1953 work For an Architecture of Situation, were based on the idea that architecture itself would allow and instigate a transformation of daily reality." Henri Lefebvre on the Situationist International

Constant's New Babylon, and his 1953 work For an Architecture of Situation, were based on the idea that architecture itself would allow and instigate a transformation of daily reality." Henri Lefebvre on the Situationist International

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