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ReportontheConstructi onof
Si tuati onsandontheInternati onal
Si tuati oni stTendency' sCondi ti onsof
Organi zati onandActi on
GuyDebord
June1957
TranslatedbyKenKnabb
RevolutionandCounterrevolutioninModernCulture
FIRSTOFALL,wethinktheworldmustbechanged.Wewantthemost
liberatingchangeofthesocietyandlifeinwhichwefindourselvesconfined.We
knowthatsuchachangeispossiblethroughappropriateactions.
Ourspecificconcernistheuseofcertainmeansofactionandthediscoveryof
newones,meanswhicharemoreeasilyrecognizableinthedomainofculture
andcustoms,butwhichmustbeappliedininterrelationwithallrevolutionary
changes.
Asocietysculturebothreflectsandprefiguresitspossiblewaysoforganizing
life.Oureraischaracterizedbythelaggingofrevolutionarypoliticalaction
behindthedevelopmentofmodernpossibilitiesofproductionwhichcallfora
superiororganizationoftheworld.
Wearegoingthroughacrucialhistoricalcrisisinwhicheachyearposesmore
acutelytheglobalproblemofrationallymasteringthenewproductiveforces
andcreatinganewcivilization.Yettheinternationalworkingclassmovement,
onwhichdependstheprerequisiteoverthrowoftheeconomicinfrastructureof
exploitation,hasonlyregisteredafewpartiallocalsuccesses.Capitalismhas
inventednewformsofstruggle(stateinterventionintheeconomy,expansionof
theconsumersector,fascistgovernments)whilecamouflagingclass
oppositionsthroughvariousreformisttacticsandexploitingthedegenerations
ofworkingclassleaderships.Inthiswayithassucceededinmaintainingthe
oldsocialrelationsinthegreatmajorityofthehighlyindustrializedcountries,
therebydeprivingasocialistsocietyofitsindispensablematerialbase.In
contrast,theunderdevelopedorcolonizedcountries,whichoverthelast
decadehaveengagedinthemostdirectandmassivebattlesagainst
imperialism,havebeguntowinsomeverysignificantvictories.Thesevictories
areaggravatingthecontradictionsofthecapitalisteconomyand(particularlyin
thecaseoftheChineserevolution)couldbeacontributingfactortowarda
renewalofthewholerevolutionarymovement.Sucharenewalcannotlimititself
toreformswithinthecapitalistoranticapitalistcountries,butmustdevelop
conflictsposingthequestionofpowereverywhere.
Theshatteringofmoderncultureistheresult,ontheplaneofideological
struggle,ofthechaoticcrisisoftheseantagonisms.Thenewdesiresthatare
takingshapearepresentedindistortedform:presentdayresourcescould
enablethemtobefulfilled,buttheanachronisticeconomicstructureis
incapableofdevelopingtheseresourcestosuchends.Rulingclassideology
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hasmeanwhilelostallcoherencebecauseofthedepreciationofitssuccessive
conceptionsoftheworld(adepreciationwhichleadstherulingclassto
historicalindecisionanduncertainty)becauseofthecoexistenceofarangeof
mutuallycontradictoryreactionaryideologies(suchasChristianityandsocial
democracy)andbecauseofthemixingintocontemporaryWesterncultureofa
numberofonlyrecentlyappreciatedfeaturesofseveralforeigncivilizations.
Themaingoalofrulingclassideologyisthereforetomaintainthisconfusion.
Withinculture(itshouldbeunderstoodthatthroughoutthistextweareignoring
thescientificoreducationalaspectsofculture,eveniftheconfusionwehave
notedisalsovisiblyreflectedatthelevelofgeneralscientifictheoriesand
notionsofeducationweareusingthetermtorefertoacomplexofaesthetics,
sentimentsandcustoms:thereactionofaneraoneverydaylife)therearetwo
parallelcounterrevolutionaryconfusionisttactics:thepartialcooptionofnew
values,andadeliberatelyanticulturalindustriallyfacilitatedproduction(novels,
films),thelatterbeinganaturalcontinuationoftheimbecilizationofyoung
peoplebegunintheirschoolsandfamilies.Therulingideologyseestoitthat
subversivediscoveriesaretrivializedandsterilized,afterwhichtheycanbe
safelyspectacularized.Itevenmanagestomakeuseofsubversiveindividuals
byfalsifyingtheirworksaftertheirdeath,or,whiletheyarestillalive,by
takingadvantageofthegeneralideologicalconfusionanddruggingthemwith
oneoranotherofthemanymystiquesattheirdisposal.
Oneofthecontradictionsofthebourgeoisieinitsperiodofdeclineisthatwhile
itrespectstheabstractprincipleofintellectualandartisticcreation,itresists
actualcreationswhentheyfirstappear,theneventuallyexploitsthem.Thisis
becauseitneedstomaintainacertaindegreeofcriticalityandexperimental
researchamongaminority,butmusttakecaretochannelthisactivityinto
narrowlycompartmentalizedutilitariandisciplinesandavertanyholisticcritique
andexperimentation.Inthedomainofculturethebourgeoisiestrivestodivert
thetasteforinnovation,whichisdangerousforitinourera,towardcertain
confused,degradedandinnocuousformsofnovelty.Throughthecommercial
mechanismsthatcontrolculturalactivity,avantgardetendenciesarecutoff
fromthesegmentsofsocietythatcouldsupportthem,segmentsalreadylimited
becauseofthegeneralsocialconditions.Thepeoplewithinthesetendencies
whobecomewellknownaregenerallyacceptedasexceptionalindividuals,on
theconditionthattheyacceptvariousrenunciations:theessentialpointis
alwaystherenunciationofacomprehensivecontestationandtheacceptanceof
fragmentaryworksusceptibletodiverseinterpretations.Thisiswhatgivesthe
verytermavantgarde,whichinthefinalanalysisisalwaysdefinedand
manipulatedbythebourgeoisie,adubiousandridiculousaspect.
Theverynotionofacollectiveavantgarde,withthemilitantaspectitimplies,is
arecentproductofthehistoricalconditionsthataresimultaneouslygivingrise
tothenecessityforacoherentrevolutionaryprogramincultureandtothe
necessitytostruggleagainsttheforcesthatimpedethedevelopmentofsucha
program.Suchgroupsareledtotransposeintotheirsphereofactivitycertain
organizationalmethodsoriginallycreatedbyrevolutionarypolitics,andtheir
actionishenceforthinconceivablewithoutsomeconnectionwithapolitical
critique.InthisregardthereisanotableprogressionfromFuturismthrough
DadaismandSurrealismtothemovementsformedafter1945.Ateachofthese
stages,however,onediscoversthesamedesirefortotalchangeandthesame
rapiddisintegrationwhentheinabilitytochangetherealworldprofoundly
enoughleadstoadefensivewithdrawaltotheverydoctrinalpositionswhose
inadequacyhadjustbeenrevealed.
Futurism,whoseinfluencespreadfromItalyintheperiodprecedingWorldWar
I,adoptedanattitudeofrevolutionizingliteratureandtheartswhichintroduced
agreatnumberofformalinnovations,butwhichwasonlybasedonan
extremelysimplisticapplicationofthenotionofmechanicalprogress.Futurisms
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pueriletechnologicaloptimismvanishedwiththeperiodofbourgeoiseuphoria
thathadsustainedit.Italianfuturismcollapsed,goingfromnationalismto
fascismwithouteverattainingamorecompletetheoreticalvisionofitstime.
Dadaism,initiatedinZurichandNewYorkbyrefugeesanddesertersfrom
WorldWarI,expressedtherejectionofallthevaluesofabourgeoissociety
whosebankruptcyhadjustbecomesogrosslyevident.Itsviolent
manifestationsinpostwarGermanyandFranceaimedmainlyatthedestruction
ofartandliteratureandtoalesserdegreeatcertainformsofbehavior
(deliberatelyimbecilicspectacles,speechesandexcursions).Itshistoricroleis
tohavedeliveredamortalblowtothetraditionalconceptionofculture.The
almostimmediatedissolutionofdadaismwasaresultofitspurelynegative
definition.Thedadaistspirithasneverthelessinfluencedallthemovementsthat
havecomeafteritandanyfutureconstructivepositionmustincludeadadaist
typenegativeaspect,aslongasthesocialconditionsthatimposetherepetition
ofrottensuperstructuresconditionsthathaveintellectuallyalreadybeen
definitivelycondemnedhavenotbeenwipedoutbyforce.
Thecreatorsofsurrealism,whohadparticipatedinthedadaistmovementin
France,endeavoredtodefinetheterrainofaconstructiveactiononthebasisof
thespiritofrevoltandtheextremedepreciationoftraditionalmeansof
communicationexpressedbydadaism.Settingoutfromapoeticapplicationof
Freudianpsychology,surrealismextendedthemethodsithaddiscoveredto
painting,tofilmandtosomeaspectsofeverydaylifeanditsinfluence,inmore
diffuseforms,spreadmuchfurther.Now,whatisimportantinanenterpriseof
thisnatureisnotwhetheritiscompletelyorrelativelyright,butwhetherit
succeedsincatalyzingforacertaintimethedesiresofanera.Surrealisms
periodofprogress,markedbytheliquidationofidealismandamomentof
rallyingtodialecticalmaterialism,cametoahaltsoonafter1930,butitsdecay
onlybecameevidentafterWorldWarII.Surrealismhadbythenspreadto
numerouscountries.Ithadalsoinitiatedadisciplinewhoserigormustnotbe
overestimatedandwhichwasoftentemperedbycommercialconsiderations,
butwhichwasneverthelessaneffectivemeansofstruggleagainstthe
confusionistmechanismsofthebourgeoisie.Thesurrealistprogram,asserting
thesovereigntyofdesireandsurpriseandproposinganewwayoflife,ismuch
richerinconstructivepossibilitiesthanisgenerallyrealized.Thelimitedscope
ofsurrealismwasinlargepartduetothelackofmaterialmeansforfulfillingits
aims.Butthedevolutionofitsoriginalproponentsintospiritualism,andabove
allthemediocrityofitslatermembers,obligesustosearchforthefailed
developmentofsurrealisttheoryintheveryoriginofthattheory.
Theerrorthatisattherootofsurrealismistheideaoftheinfiniterichnessof
theunconsciousimagination.Thecauseofsurrealismsideologicalfailurewas
itsbeliefthattheunconsciouswasthefinallydiscoveredultimateforceoflife
andthefactthatthesurrealistsrevisedthehistoryofideasinaccordancewith
thatsimplisticperspectiveandneverwentanyfurther.Wenowknowthatthe
unconsciousimaginationispoor,thatautomaticwritingismonotonous,andthat
thewholeostentatiousgenreofwouldbestrangeandshockingsurrealistic
creationshasceasedtobeverysurprising.Theformalfidelitytothisstyleof
imaginationultimatelyleadsbacktothepolaroppositeofthemodernconditions
ofimagination:backtotraditionaloccultism.Theextenttowhichsurrealismhas
remaineddependentonitshypothesisregardingtheunconsciouscanbeseen
inthetheoreticalinvestigationsattemptedbythesecondgenerationsurrealists:
CalasandMabillerelateeverythingtothetwosuccessiveaspectsofthe
surrealistpracticeoftheunconscioustheformertopsychoanalysis,thelatter
tocosmicinfluences.Thediscoveryoftheroleoftheunconsciouswasindeeda
surpriseandaninnovationbutitwasnotalawoffuturesurprisesand
innovations.Freudhadalsoendedupdiscoveringthiswhenhewrote,
Everythingconsciouswearsout.Whatisunconsciousremainsunaltered.But
onceitissetloose,doesitnotalsofallintoruin?
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Opposinganapparentlyirrationalsocietyinwhichtheclashbetweenrealityand
theoldbutstillvigorouslyproclaimedvalueswaspushedtothepointof
absurdity,surrealismmadeuseoftheirrationaltodestroythatsocietys
superficiallylogicalvalues.Theverysuccessofsurrealismhasalottodowith
thefactthatthemostmodernsideofthissocietysideologyhasrenounceda
stricthierarchyoffactitiousvaluesandopenlyusestheirrational,including
vestigesofsurrealism.Thebourgeoisiemustaboveallpreventanewbeginning
ofrevolutionarythought.Itwasawareofthedangerofsurrealism.Nowthatit
hasbeenabletocooptitintoordinaryaestheticcommerce,itwouldlikepeople
tobelievethatsurrealismwasthemostradicalanddisturbingmovement
possible.Itthuscultivatesasortofnostalgiaforsurrealismatthesametime
thatitdiscreditsanynewventurebyautomaticallypigeonholingitasarehash
ofsurrealism,arerunofadefeatwhichaccordingtoitisdefinitiveandcanno
longerbebroughtbackintoquestionbyanyone.Reactingagainstthealienation
ofChristiansocietyhasledsomepeopletoadmirethecompletelyirrational
alienationofprimitivesocieties.Butweneedtogoforward,notbackward.We
needtomaketheworldmorerationalthenecessaryfirststepinmakingit
moreexciting,fascinatingandfulfilling.
Decomposition:TheUltimateStageofBourgeoisThought
THETWOMAINcentersofmoderncultureareParisandMoscow.Thestyles
originatinginParis(themajorityofwhoseelaboratorsarenotFrench)influence
Europe,Americaandtheotherdevelopedcountriesofthecapitalistzonesuch
asJapan.Thestylesimposedadministrativelybyinfluencealltheworkers
statesandalsohaveaslighteffectonParisanditsEuropeanzoneofinfluence.
TheMoscowinfluenceisdirectlypolitical.Thepersistenceofthetraditional
influenceofParisstemspartlyfromitslongintrenchedpositionasprofessional
culturalcenter.
BecausebourgeoisthoughtislostinsystematicconfusionandMarxistthought
hasbeenprofoundlydistortedintheworkersstates,conservatismreignsboth
EastandWest,especiallyinthedomainofcultureandcustoms.This
conservatismisovertinMoscow,whichhasrevivedthetypicallypetitbourgeois
attitudesofthe19thcentury.InParisitishidden,disguisedasanarchism,
cynicismorhumor.Althoughbothoftheserulingculturesarefundamentally
incapableofdealingwiththerealproblemsofourtime,relevant
experimentationhasbeencarriedfurtherintheWest.Inthecontextofthissort
ofculturalproduction,theMoscowzonefunctionsasaregionof
underdevelopment.
Inthebourgeoiszone,whereanappearanceofintellectualfreedomhas
generallybeentolerated,theknowledgeofthemovementofideasandthe
confusedvisionofthemultipletransformationsofthesocialenvironmenttendto
makepeopleawareofanongoingupheavalwhosemotivatingforcesareoutof
control.Thereigningsensibilitytriestoadaptitselftothissituationwhile
resistingnewchangesthatpresentnewdangers.Thesolutionsofferedbythe
retrogradecurrentsultimatelycomedowntothreemainattitudes:prolonging
thefashionsproducedbythedadasurrealismcrisis(whichcrisisissimplythe
sophisticatedculturalexpressionofastateofmindthatspontaneously
manifestsitselfwhereverpreviouslyacceptedmeaningsoflifecrumblealong
withpreviouslifestyles)settlingintomentalruinsorreturningtothedistant
past.
Inthefirstcase,adilutedformofsurrealismcanbefoundeverywhere.Ithasall
thetastesofthesurrealisteraandnoneofitsideas.Itsaestheticisbasedon
repetition.Theremnantsoforthodoxsurrealismhavearrivedatthestageof
occultistsenility,andareasincapableofarticulatinganideologicalpositionas
theyareofinventinganythingwhatsoever.Theylendcredencetoincreasingly
crudecharlatanismsandengenderothers.
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Settingupshopinnullityistheculturalsolutionthathasbeenmostvisibleinthe
yearsfollowingWorldWarII.Thissolutionincludestwopossibilities,eachof
whichhasbeenabundantlyillustrated:dissimulatingnothingnessbymeansof
anappropriatevocabulary,oropenlyflauntingit.
Thefirstoftheseoptionshasbecomeparticularlyfamoussincetheadventof
existentialistliterature,whichhasreproduced,underthecoverofaborrowed
philosophy,themostmediocreaspectsoftheculturalevolutionofthepreceding
threedecadesandaugmenteditsmassmediabasednotorietybydosesoffake
Marxismandpsychoanalysisandbysuccessiveannouncementsofmoreor
lessarbitrarypoliticalengagementsandresignations.Thesetacticshave
generatedaverylargenumberoffollowers,avowedorunacknowledged.The
continuingproliferationofabstractpaintinganditsassociatedtheoriesis
anotherexampleofthesamenatureandscope.
Thecomplacentaffirmationoftotalmentalnullityisexemplifiedbytherecent
neoliteraryphenomenonofcynicalyoungrightwingnovelists,butisbyno
meanslimitedtorightwingers,novelists,orsemiyouth.
Amongthetendenciescallingforareturntothepast,thedoctrineofSocialist
Realismhasproventobethemostdurable,becauseitsindefensiblepositionin
thedomainofculturalcreationseemstobesupportedbyitsappealtothe
conclusionsofarevolutionarymovement.Atthe1948conferenceofSoviet
musicians,AndreiZhdanovrevealedthestakeoftheoreticalrepression:
Haventwedonewelltopreservethetreasuresofclassicpaintingandto
suppresstheliquidatorsofpainting?Wouldntthesurvivalofsuchschools
haveamountedtotheliquidationofpainting?Facedwiththisliquidationof
paintingandwithmanyotherliquidations,andrecognizingthecrumblingofall
itssystemsofvalues,theadvancedWesternbourgeoisieisbankingontotal
ideologicaldecomposition,whetheroutofdesperatereactionoroutofpolitical
opportunism.Incontrast,Zhdanovwiththetastecharacteristicofthe
parvenurecognizeshimselfinthepetitbourgeoisthatopposesthe
decompositionof19thcenturyculturalvalues,andcanseenothingelsetodo
thantoundertakeanauthoritarianrestorationofthosevalues.Heisunrealistic
enoughtobelievethatshortlivedlocalpoliticalcircumstanceswillgivehimthe
powertoevadethegeneralproblemsofthisera,ifonlyhecanforcepeopleto
returntothestudyofsupersededproblemsafterhavingrepressedallthe
conclusionsthathistoryhaspreviouslydrawnfromthoseproblems.
Theform(andevensomeaspectsofthecontent)ofthisSocialistRealismis
notverydifferentfromthetraditionalpropagandaofreligiousorganizations,
particularlyofCatholicism.Bymeansofaninvariablepropaganda,Catholicism
defendsaunitaryideologicalstructurethatitalone,amongalltheforcesofthe
past,stillpossesses.Butatthesametime,inaparalleloperationdesignedto
recapturetheincreasinglynumeroussectorsthatareescapingitsinfluence,the
CatholicChurchisattemptingtotakeovermodernculturalforms,particularly
thoserepresentingcomplicatedtheoreticalnullity(spontaneouspainting,for
example).TheCatholicreactionarieshavetheadvantageoverotherbourgeois
tendenciesofbeingabletorelyonapermanenthierarchyofvaluesthis
inalterablefoundationenablesthemallthemorefreelytopushdecomposition
totheextremeinwhateverdisciplinetheyengagein.
Thecrisisofmodernculturehasledtototalideologicaldecomposition.Nothing
newcanbebuiltontheseruins.Criticalthoughtitselfbecomesimpossibleas
eachjudgmentclasheswithothersandeachpersoninvokesfragmentsof
outmodedsystemsorfollowsmerelypersonalinclinations.
Thisdecompositioncanbeseeneverywhere.Itisnolongeramatterofnoting
theincreasinglymassiveuseofcommercialpublicitytoinfluencejudgments
aboutculturalcreation.Wehavearrivedatastageofideologicalabsencein
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whichadvertisinghasbecometheonlyactivefactor,overridinganypreexisting
criticaljudgmentortransformingsuchjudgmentintoamereconditionedreflex.
Thecomplexoperationofsalestechniqueshasreachedthepointofsurprising
eventheadprofessionalsbyautomaticallycreatingpseudosubjectsofcultural
debate.ThisisthesociologicalsignificanceoftheFranoiseSagan
phenomenoninFranceoverthelastthreeyears,anexperiencewhose
repercussionshaveevenpenetratedbeyondtheculturalzonecenteredon
Parisbyprovokingsomeinterestintheworkersstates.Theprofessionaljudges
ofculture,seeingsuchaphenomenonasanunpredictableeffectof
mechanismswithwhichtheyareunfamiliar,tendtoattributeittomerecrude
massmediapublicity.Buttheirprofessionneverthelessobligesthemtocome
upwithsomeboguscritiquesofthesebogusworks.(Moreover,aworkwhose
interestisinexplicableconstitutestherichestsubjectforbourgeoisconfusionist
criticism.)Theynaturallyremainunawareofthefactthattheintellectual
mechanismsofcriticismhadalreadyescapedthemlongbeforetheexternal
mechanismsarrivedtoexploitthisvoid.TheyavoidfacingthefactthatSaganis
simplytheridiculousflipsideofthechangeofmeansofexpressionintomeans
ofactiononeverydaylife.Thisprocessofsupersessionhascausedthelifeof
theauthortobecomeincreasinglymoreimportantthanherwork.Astheperiod
ofimportantexpressionsarrivesatitsultimatereduction,nothingofany
possibleimportanceremainsexceptthepersonalityoftheauthor,whointurnis
nolongercapableofpossessinganynotablequalitybeyondherage,orsome
fashionablevice,orsomepicturesqueoldcraft.
Theoppositionthatmustnowbeunitedagainstthisideologicaldecomposition
mustnotgetcaughtupincriticizingthebuffooneriesappearinginoutmoded
formslikepoemsornovels.Wehavetocriticizeactivitiesthatareimportantfor
thefuture,activitiesthatweneedtomakeuseof.Oneofthemostserioussigns
ofthepresentideologicaldecompositionisthatthefunctionalisttheoryof
architectureisnowbasedonthemostreactionaryconceptionsofsocietyand
morality.Thatis,thetemporarilyandpartiallyvalidcontributionsoftheoriginal
BauhausoroftheschoolofLeCorbusierhavebeendistortedsoastoreinforce
anexcessivelybackwardnotionoflifeandoftheframeworkoflife.
Everythingindicates,however,thatsince1956wehavebeenenteringanew
phaseofthestruggle,andthatanupheavalofrevolutionaryforces,attacking
themostappallingobstaclesonallfronts,isbeginningtochangetheconditions
oftheprecedingperiod.SocialistRealismisbeginningtodeclineinthe
countriesoftheanticapitalistcamp,alongwiththereactionaryStalinismthat
producedit,whileintheWesttheSagancultureismarkingadepthof
bourgeoisdecadencebeyondwhichitisprobablyimpossibletogoandthere
seemstobeanincreasingawarenessoftheexhaustionofthecultural
expedientsthathaveservedsincetheendofWorldWarII.Inthiscontext,the
avantgardeminoritymaybeabletorediscoverapositivevalue.
TheRoleofMinorityTendenciesintheEbbingPeriod
THEEBBINGOFtheinternationalrevolutionarymovement,whichbecame
apparentwithinafewyearsafter1920andincreasinglyobviousuntilaround
1950,wasfollowed,withatimelagoffiveorsixyears,byanebbingofthe
movementsthathadtriedtopromoteliberatoryinnovationsincultureand
everydaylife.Theideologicalandmaterialimportanceofsuchmovementshas
continuallydiminished,tothepointthattheyhavebecometotallyisolated.Their
action,whichundermorefavorableconditionswasabletoleadtoasudden
renewaloftheclimateoffeeling,hasweakenedtothepointthatconservative
tendencieshavebeenabletoexcludethemfromanydirectpenetrationintothe
riggedarenaofofficialculture.Oncethesemovementshavebeendeprivedof
theirroleintheproductionofnewvalues,theyendupservingasareservepool
ofintellectuallaborfromwhichthebourgeoisiecandrawindividualscapableof
addinginnovativenuancestoitspropaganda.
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Atthispointofdissolution,thesocialimportanceoftheexperimentalavant
gardeisapparentlylessthanthatofthepseudomodernisttendencieswhich
dontevenbothertopretendtoseekchange,butwhichrepresentthemodern,
mediareinforcedfaceofacceptedculture.Butthosewhohavearoleinthe
actualproductionofmodernculture,andwhoarediscoveringtheirinterestsas
producersofthisculture(allthemoreacutelyastheyarereducedtoapurely
negativeposition),aredevelopingaconsciousnessthatisinevitablylacking
amongthemodernistrepresentativesofthedecliningsociety.Thepovertyof
theacceptedcultureanditsmonopolyonthemeansofculturalproductionlead
toacorrespondingimpoverishmentofthetheoryandmanifestationsofthe
avantgarde.Butitisonlywithinthisavantgardethatanewrevolutionary
conceptionofcultureisimperceptiblytakingshape.Nowthatthedominant
cultureandthebeginningsofoppositionalculturearearrivingattheextreme
pointoftheirseparationandimpotence,thisnewconceptionshouldassert
itself.
Thehistoryofmoderncultureduringtheperiodofrevolutionaryebbingisthus
alsothehistoryofthetheoreticalandpracticaldefeatofthemovementof
renewal,tothepointthattheminoritytendenciesbecamecompletelyisolated
anddecompositionreignedeverywhere.
Between1930andWorldWarIIsurrealismcontinuallydeclinedasa
revolutionaryforceatthesametimethatitsinfluencewasbeingextended
beyonditscontrol.Thepostwarperiodledtotherapiddestructionofsurrealism
bythetwofactorsthathadalreadyblockeditsdevelopmentaround1930:the
lackofpossibilitiesfortheoreticalrenewalandtheebbingofrevolution,
developmentswhichwerereflectedinthepoliticalandculturalreactioninthe
workersmovement.Thelatterfactorisdirectlydeterminant,forexample,inthe
disappearanceofthesurrealistgroupofRumania.Ontheotherhand,itis
aboveallthefirstofthesefactorsthatcondemnedtheRevolutionarySurrealism
movementinFranceandBelgiumtoarapidcollapse.ExceptinBelgium,where
afractionissuingfromsurrealismhasmaintainedavalidexperimentalposition
[theLvresNuesgroup],allthesurrealisttendenciesscatteredaroundthe
worldhavejoinedthecampofmysticalidealism.
SomeoftheRevolutionarySurrealistswereamongthosewhoformedthe
ExperimentalArtistsInternational(19491951),whichincludedparticipants
fromDenmark,Belgium,Holland,andeventuallyalsoGermany,andwhich
publishedthejournalCobra(CopenhagenBrusselsAmsterdam).Themeritof
thesegroupswastohaveunderstoodthatsuchanorganizationisnecessitated
bythecomplexityandextentofpresentdayproblems.Buttheirlackof
ideologicalrigor,thelimitationoftheirpursuitstomainlyplastic
experimentation,andabovealltheabsenceofacomprehensivetheoryofthe
conditionsandperspectivesoftheirexperienceledtotheirbreakup.
Lettrism,inFrance,hadstartedoffbytotallyopposingtheentireknown
aestheticmovement,whosecontinualdecayingitcorrectlyanalyzed.Striving
fortheuninterruptedcreationofnewformsinalldomains,theLettristgroup
carriedonasalutaryagitationbetween1946and1952.Butthegroupgenerally
tookitforgrantedthataestheticdisciplinesshouldtakeanewdeparturewithin
ageneralframeworksimilartotheformerone,andthisidealisterrorlimitedits
productionstoafewpaltryexperiments.In1952theLettristleftwingorganized
itselfintoaLettristInternationalandexpelledthebackwardfraction.Inthe
LettristInternationalthequestfornewmethodsofinterventionineverydaylife
waspursuedamidstsharpstrugglesamongdifferenttendencies.
InItalywiththeexceptionoftheantifunctionalistexperimentalgroupthatin
1955formedthemostsolidsectionoftheInternationalMovementforan
ImaginistBauhaustheeffortstowardavantgardeformationshaveremained
attachedtotheoldartisticperspectivesandhavenotevensucceededin
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expressingthemselvestheoretically.
DuringthesameperiodthemostinnocuousandmassifiedaspectsofWestern
culturehavebeenmassivelyimitatedallovertheworld,fromtheUnitedStates
toJapan.(TheUSavantgarde,whichtendstocongregateintheAmerican
colonyinParis,livesthereinthemosttame,insipidlyconformistmanner,
isolatedideologically,sociallyandevenecologicallyfromeverythingelsegoing
on.)Asfortheproductionsofpeopleswhoarestillsubjecttocultural
colonialism(oftencausedbypoliticaloppression),eventhoughtheymaybe
progressiveintheirowncountries,theyplayareactionaryroleintheadvanced
culturalcenters.Criticswhohavebasedtheirentirecareeronoutdatedsystems
ofcreationpretendtodiscoverengagingnewdevelopmentsinGreekfilmsor
Guatemalannovelsanexoticismoftheantiexotic,therevivalofoldforms
longsinceexploitedandexhaustedinothercountriesanexoticismwhichdoes,
however,servetheprimarypurposeofexoticism:escapefromthereal
conditionsoflifeandcreation.
IntheworkersstatesonlytheexperimentationcarriedoutbyBrechtinBerlin,
insofarasitputsintoquestiontheclassicspectaclenotion,isclosetothe
constructionsthatmatterforustoday.OnlyBrechthassucceededinresisting
thestupidityofSocialistRealisminpower.
NowthatSocialistRealismisfallingapart,wecanexpectmuchfroma
revolutionaryconfrontationoftheintellectualsintheworkersstateswiththereal
problemsofmodernculture.IfZhdanovismhasbeenthepurestexpressionnot
onlyoftheculturaldegenerationoftheworkersmovementbutalsoofthe
conservativeculturalpositioninthebourgeoisworld,thoseintheEasternBloc
whoarepresentlyrevoltingagainstZhdanovismcannotdosowhatevertheir
subjectiveintentionsmerelyinthenameofagreatercreativefreedomla
Cocteau,forexample.AnegationofZhdanovismobjectivelymeansthe
negationoftheZhdanovistnegationofliquidation.Thesolepossible
supersessionofZhdanovismwillbetherealexerciseoffreedom,whichis
consciousnessofpresentnecessity.
Here,too,therecentyearshaveatmostbeenaperiodofconfusedresistance
totheconfusedreignofreactionaryimbecility.Therewerentmanyofusreally
workingagainstit.Butweshouldntlingeroverthetastesortrivialfindingsof
thisperiod.Theproblemsofculturalcreationcanberesolvedonlyinrelation
withanewadvanceofworldrevolution.
PlatformforaProvisionalOpposition
AREVOLUTIONARYACTIONwithinculturemustaimtoenlargelife,not
merelytoexpressorexplainit.Itmustattackmiseryoneveryfront.Revolution
isnotlimitedtodeterminingthelevelofindustrialproduction,orevento
determiningwhoistobethemasterofsuchproduction.Itmustabolishthe
exploitationofhumanity,butalsothepassions,compensationsandhabits
whichthatexploitationhasengendered.Wehavetodefinenewdesiresin
relationtopresentpossibilities.Inthethickofthebattlebetweenthepresent
societyandtheforcesthataregoingtodestroyit,wehavetofindthefirst
elementsofasuperiorconstructionoftheenvironmentandnewconditionsof
behaviorbothasexperiencesinthemselvesandasmaterialforpropaganda.
Everythingelsebelongstothepast,andservesit.
Wenowhavetoundertakeanorganizedcollectiveworkaimedataunitaryuse
ofallthemeansofrevolutionizingeverydaylife.Thatis,wemustfirstofall
recognizetheinterdependenceofthesemeansintheperspectiveofincreased
freedomandanincreaseddominationofnature.Weneedtoconstructnew
ambiencesthatwillbeboththeproductsandtheinstrumentsofnewformsof
behavior.Todothis,wemustfromthebeginningmakepracticaluseofthe
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everydayprocessesandculturalformsthatnowexist,whilerefusingto
acknowledgeanyinherentvaluetheymayclaimtohave.Theverycriterionof
formalinventionorinnovationhaslostitssensewithinthetraditionalframework
oftheartsinsufficient,fragmentaryformswhosepartialrenovationsare
inevitablyoutdatedandthereforeimpossible.
Weshouldnotsimplyrefusemodernculturewemustseizeitinordertonegate
it.Noonecanclaimtobearevolutionaryintellectualwhodoesnotrecognize
theculturalrevolutionwearenowfacing.Anintellectualcreatorcannotbe
revolutionarybymerelysupportingsomepartyline,notevenifhedoessowith
originalmethods,butonlybyworkingalongsidethepartiestowardthe
necessarytransformationofalltheculturalsuperstructures.Whatultimately
determineswhetherornotsomeoneisabourgeoisintellectualisneitherhis
socialoriginnorhisknowledgeofaculture(suchknowledgemayjustaswell
bethebasisforacritiqueofthatcultureorforsomenewcreativeventure),but
hisroleintheproductionofthehistoricallybourgeoisformsofculture.Authors
ofrevolutionarypoliticalopinionswhofindthemselvespraisedbybourgeois
literarycriticsshouldaskthemselveswhattheyvedonewrong.
Theunionofseveralexperimentaltendenciesforarevolutionaryfrontin
culture,begunatthecongressheldatAlba,Italy,attheendof1956,
presupposesthatwenotneglectthreeimportantfactors.
Firstofall,wemustinsistonacompleteaccordamongthepersonsandgroups
thatparticipateinthisunitedactionandthisaccordmustnotbefacilitatedby
allowingcertainofitsconsequencestobedissimulated.Jokersorcareerists
whoarestupidenoughtothinktheycanadvancetheircareersinthiswaymust
berebuffed.
Next,wemustrecallthatwhileanygenuinelyexperimentalattitudeisusable,
thatwordhasveryoftenbeenmisusedintheattempttojustifyartisticactions
withinanalreadyexistingstructure.Theonlyvalidexperimentalproceedingis
basedontheaccuratecritiqueofexistingconditionsandthedeliberate
supersessionofthem.Itmustbeunderstoodonceandforallthatsomething
thatisonlyapersonalexpressionwithinaframeworkcreatedbyotherscannot
betermedacreation.Creationisnotthearrangementofobjectsandforms,itis
theinventionofnewlawsonsucharrangement.
Finally,wehavetoeliminatethesectarianismamongusthatopposesunityof
actionwithpossiblealliesforspecificgoalsandpreventsourinfiltrationof
parallelorganizations.From1952to1955theLettristInternational,aftersome
necessarypurges,continuallymovedtowardasortofabsolutistrigorleadingto
anequallyabsoluteisolationandineffectuality,andultimatelytoacertain
immobility,adegenerationofthespiritofcritiqueanddiscovery.Wemust
definitivelysupersedethissectarianconductinfavorofrealactions.Thisshould
bethesolecriteriononwhichwejoinwithorseparatefromcomrades.Naturally
thisdoesnotmeanthatweshouldrenouncebreaks,aseveryoneurgesusto
do.Onthecontrary,wethinkthatitisnecessarytogostillfurtherinbreaking
withhabitsandpersons.
Weshouldcollectivelydefineourprogramandrealizeitinadisciplinedmanner,
usinganymeans,evenartisticones.
TowardaSituationistInternational
OURCENTRALIDEAistheconstructionofsituations,thatistosay,the
concreteconstructionofmomentaryambiancesoflifeandtheirtransformation
intoasuperiorpassionalquality.Wemustdevelopasystematicintervention
basedonthecomplexfactorsoftwocomponentsinperpetualinteraction:the
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materialenvironmentoflifeandthebehaviorswhichitgivesrisetoandwhich
radicallytransformit.
Ourperspectivesofactionontheenvironmentultimatelyleadustothenotion
ofunitaryurbanism.Unitaryurbanismisdefinedfirstofallastheuseofallarts
andtechniquesasmeanscontributingtothecompositionofaunifiedmilieu.
Suchaninterrelatedensemblemustbeenvisagedasincomparablymorefar
reachingthantheolddominationofarchitectureoverthetraditionalarts,orthan
thepresentsporadicapplicationtoanarchicurbanismofspecializedtechnology
orofscientificinvestigationssuchasecology.Unitaryurbanismmust,for
example,determinetheacousticenvironmentaswellasthedistributionof
differentvarietiesoffoodanddrink.Itmustincludeboththecreationofnew
formsandthedtournementofpreviousformsofarchitecture,urbanism,poetry
andcinema.Integralart,whichhasbeentalkedaboutsomuch,canberealized
onlyatthelevelofurbanism.Butitcannolongercorrespondtoanyofthe
traditionalaestheticcategories.Ineachofitsexperimentalcitiesunitary
urbanismwillactbywayofacertainnumberofforcefields,whichwecan
temporarilydesignatebytheclassictermquarter.Eachquarterwilltend
towardaspecificharmonydistinctfromneighboringharmoniesorelsewillplay
onamaximumbreakingupofinternalharmony.
Secondly,unitaryurbanismisdynamic,inthatitisdirectlyrelatedtostylesof
behavior.Themostelementaryunitofunitaryurbanismisnotthehouse,but
thearchitecturalcomplex,whichcombinesallthefactorsconditioningan
ambiance,oraseriesofclashingambiances,onthescaleoftheconstructed
situation.Spatialdevelopmentmusttakeintoaccounttheemotionaleffectsthat
theexperimentalcityisintendedtoproduce.Oneofourcomradeshas
advancedatheoryofstatesofmindquarters,accordingtowhicheachquarter
ofacitywouldbedesignedtoprovokeaspecificbasicsentimenttowhich
peoplewouldknowinglyexposethemselves.Itseemsthatsuchaprojectdraws
appropriateconclusionsfromthecurrenttendencytodepreciaterandomly
encounteredprimarysentiments,andthatitsrealizationcouldcontributeto
acceleratingthatdepreciation.Thecomradeswhocallforanew,free
architecturemustunderstandthatthisnewarchitecturewillprimarilybebased
notonfree,poeticlinesandformsinthesensethattodayslyricalabstract
paintingusesthosetermsbutratherontheatmosphericeffectsofrooms,
hallways,streetsatmosphereslinkedtothegesturestheycontain.
Architecturemustadvancebytakingemotionallymovingsituations,ratherthan
emotionallymovingforms,asthematerialitworkswith.Andtheexperiments
conductedwiththismaterialwillleadtonew,asyetunknownforms.
Psychogeographicalresearch,thestudyoftheexactlawsandspecificeffects
ofgeographicalenvironments,whetherconsciouslyorganizedornot,onthe
emotionsandbehaviorofindividuals,thustakesonadoublemeaning:active
observationofpresentdayurbanagglomerationsanddevelopmentof
hypothesesonthestructureofasituationistcity.Theprogressof
psychogeographydependstoagreatextentonthestatisticalextensionofits
methodsofobservation,butaboveallonexperimentationbymeansofconcrete
interventionsinurbanism.Beforethisstageisattainedwecannotbecertainof
theobjectivetruthoftheinitialpsychogeographicalfindings.Butevenifthese
findingsshouldturnouttobefalse,theywouldstillbefalsesolutionstowhatis
neverthelessarealproblem.
Ouractiononbehavior,linkedwithotherdesirableaspectsofarevolutionin
mores,canbebrieflydefinedastheinventionofgamesofanessentiallynew
type.Themostgeneralgoalmustbetoexpandthenonmediocrepartoflife,to
reducetheemptymomentsoflifeasmuchaspossible.Onecouldthusspeak
ofourenterpriseasaprojectofquantitativelyincreasinghumanlife,an
enterprisemoreseriousthanthebiologicalmethodscurrentlybeing
investigated,andonethatautomaticallyimpliesaqualitativeincreasewhose
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developmentsareunpredictable.Thesituationistgameisdistinguishedfrom
theclassicnotionofgamesbyitsradicalnegationoftheelementofcompetition
andofseparationfromeverydaylife.Ontheotherhand,itisnotdistinctfroma
moralchoice,sinceitimpliestakingastandinfavorofwhatwillbringaboutthe
futurereignoffreedomandplay.
Thisperspectiveisobviouslylinkedtothecontinualandrapidincreaseof
leisuretimeresultingfromthelevelofproductiveforcesourerahasattained.It
isalsolinkedtotherecognitionofthefactthatabattleofleisureistakingplace
beforeoureyes,abattlewhoseimportanceintheclassstrugglehasnotbeen
sufficientlyanalyzed.Sofar,therulingclasshassucceededinusingtheleisure
therevolutionaryproletariatwrestedfromitbydevelopingavastindustrial
sectorofleisureactivitiesthatisanincomparableinstrumentforstupefyingthe
proletariatwithbyproductsofmystifyingideologyandbourgeoistastes.The
abundanceoftelevisedimbecilitiesisprobablyoneofthereasonsforthe
Americanworkingclasssinabilitytodevelopanypoliticalconsciousness.By
obtainingthroughcollectivepressureaslightriseinthepriceofitslaborabove
theminimumnecessaryfortheproductionofthatlabor,theproletariatnotonly
extendsitspowerofstruggle,italsoextendstheterrainofthestruggle.New
formsofthisstrugglethenarisealongsidedirectlyeconomicandpolitical
conflicts.Itcanbesaidthatuptillnowrevolutionarypropagandahasbeen
constantlyovercomewithinthesenewformsofstruggleinallthecountries
whereadvancedindustrialdevelopmenthasintroducedthem.Thatthe
necessarychangingoftheinfrastructurecanbedelayedbyerrorsand
weaknessesatthelevelofsuperstructureshasunfortunatelybeen
demonstratedbyseveralexperiencesofthetwentiethcentury.Itisnecessaryto
thrownewforcesintothebattleofleisure.Wewilltakeourpositionthere.
Aroughexperimentationtowardanewmodeofbehaviorhasalreadybeen
madewithwhatwehavetermedthedrive:thepracticeofapassionaljourney
outoftheordinarythrougharapidchangingofambiances,aswellasameans
ofstudyofpsychogeographyandofsituationistpsychology.Buttheapplication
ofthiswilltoplayfulcreationmustbeextendedtoallknownformsofhuman
relationships,soastoinfluence,forexample,thehistoricalevolutionof
sentimentslikefriendshipandlove.Everythingleadsustobelievethatthe
essentialelementsofourresearchlieinourhypothesisofconstructionsof
situations.
Apersonslifeisasuccessionoffortuitoussituations,andevenifnoneofthem
isexactlythesameasanothertheimmensemajorityofthemareso
undifferentiatedandsodullthattheygiveaperfectimpressionofsameness.As
aresult,therareintenselyengagingsituationsfoundinlifeonlyservetostrictly
confineandlimitthatlife.Wemusttrytoconstructsituations,thatistosay,
collectiveambiances,ensemblesofimpressionsdeterminingthequalityofa
moment.Ifwetakethesimpleexampleofagatheringofagroupofindividuals
foragiventime,itwouldbedesirable,whiletakingintoaccounttheknowledge
andmaterialmeanswehaveatourdisposal,tostudywhatorganizationofthe
place,whatselectionofparticipantsandwhatprovocationofeventsare
suitableforproducingthedesiredambiance.Thepowersofasituationwill
certainlyexpandconsiderablyinbothtimeandspacewiththerealizationsof
unitaryurbanismortheeducationofasituationistgeneration.
Theconstructionofsituationsbeginsbeyondtheruinsofthemodernspectacle.
Itiseasytoseehowmuchtheveryprincipleofthespectaclenonintervention
islinkedtothealienationoftheoldworld.Conversely,themostpertinent
revolutionaryexperimentsinculturehavesoughttobreakthespectators
psychologicalidentificationwiththeherosoastodrawthemintoactivityby
provokingtheircapacitiestorevolutionizetheirownlives.Thesituationisthus
designedtobelivedbyitsconstructors.Theroleplayedbyapassiveormerely
bitpartplayingpublicmustconstantlydiminish,whilethatplayedbythose
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whocannotbecalledactors,butrather,inanewsenseoftheterm,livers,
muststeadilyincrease.
Wehavetomultiplypoeticsubjectsandobjectswhicharenowunfortunately
sorarethattheslightestonestakeonanexaggeratedemotionalimportance
andwehavetoorganizegamesforthesepoeticsubjectstoplaywiththese
poeticobjects.Thisisourentireprogram,whichisessentiallytransitory.Our
situationswillbeephemeral,withoutafuture.Passageways.Ouronlyconcern
isreallifewecarenothingaboutthepermanenceofartorofanythingelse.
Eternityisthegrossestideaapersoncanconceiveofinconnectionwithhis
acts.
Situationisttechniqueshaveyettobeinvented.Butweknowthatatask
presentsitselfonlywhenthematerialconditionsnecessarytoitsrealization
alreadyexist,oratleastareintheprocessofformation.Wehavetobeginwith
aphaseofsmallscaleexperimentation.Itwillprobablybenecessarytoprepare
plansorscenariosforthecreationofsituations,despitetheirinevitable
inadequacyatthebeginning.Tothisendwemustdevelopasystemof
notations,whichwillbecomemorepreciseaswelearnmorefromthe
experiencesofconstruction.Wewillalsoneedtodiscoverorverifycertainlaws,
suchasthataccordingtowhichsituationistemotionsdependonextreme
concentrationorextremedispersalofactions(classicaltragedygivingarough
ideaoftheformer,drivesofthelatter).Inadditiontothedirectmeansthatwill
beusedforspecificends,thepositivephaseoftheconstructionofsituations
willrequireanewapplicationofreproductivetechnologies.Onecanenvisage,
forexample,televisedimagesofcertainaspectsofonesituationbeing
communicatedlivetopeopletakingpartinanothersituationsomewhereelse,
therebyproducingvariousmodificationsandinterferencesbetweenthetwo.
Moresimply,anewstyleofdocumentaryfilmcouldbedevotedtocurrent
eventsthatreallyarecurrentandeventfulbypreserving(insituationist
archives)themostsignificantmomentsofasituationbeforetheevolutionofits
elementshasledtoadifferentsituation.Sincethesystematicconstructionof
situationswillgiverisetopreviouslyunknownsentiments,filmwillfindits
greatesteducationalroleinthedisseminationofthesenewpassions.
Situationisttheoryresolutelysupportsanoncontinuousconceptionoflife.The
notionofunitymustceasetobeseenasapplyingtothewholeofoneslife
(whereitservesasareactionarymystificationbasedonthebeliefinan
immortalsouland,inthefinalanalysis,onthedivisionoflabor)instead,it
shouldapplytotheconstructionofeachparticularmomentoflifethroughthe
unitaryuseofsituationistmethods.Inaclasslesssocietytherewillnolongerbe
painters,butonlysituationistswho,amongotherthings,sometimespaint.
Themainemotionaldramaoflife,asidefromtheperpetualconflictbetween
desireandrealityhostiletodesire,seemstobethesensationofthepassageof
time.Incontrasttotheaestheticmodesthatstrivetofixandeternalizesome
emotion,thesituationistattitudeconsistsingoingwiththeflowoftime.Inso
doing,inpushingeverfurtherthegameofcreatingnew,emotionally
provocativesituations,thesituationistsaregamblingthatchangewillusuallybe
forthebetter.Intheshorttermtheoddsareobviouslyagainstthatbet.But
evenifwehavetoloseitathousandtimes,weseenootherchoicefora
progressiveattitude.
ThesituationistminorityfirstemergedasatendencyintheLettristleftwing,
thenintheLettristInternationalwhichitendedupcontrolling.Thesame
objectivemovementhasledseveralrecentavantgardegroupstosimilar
conclusions.Togetherwemusteliminatealltherelicsoftherecentpast.We
nowbelievethatanaccordforaunitedactionoftherevolutionaryavantgarde
inculturemustbecarriedoutonthebasisofsuchaprogram.Wehaveneither
guaranteedrecipesnordefinitiveresults.Weonlyproposeanexperimental
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researchtobecollectivelyledinafewdirectionsthatwearepresentlydefining
andtowardothersthathaveyettobedefined.Theverydifficultyofsucceeding
inthefirstsituationistprojectsisaproofofthenewnessofthedomainweare
penetrating.Somethingthatchangesourwayofseeingthestreetsismore
importantthansomethingthatchangesourwayofseeingpaintings.Our
workinghypotheseswillbereexaminedateachfutureupheaval,whereverit
comesfrom.
Variouspeople(particularlyamongtherevolutionaryartistsandintellectuals
whohaveresignedthemselvestoacertainimpotence)willrespondthatthis
situationismseemsratherdisagreeablethatwehavenotcreatedany
beautifulworksthatwewoulddobettertotalkaboutAndrGideandthatno
onewillseeanyclearreasonstobeinterestedinus.Theywillevadefacingthe
issueswehaveraisedbyreproachingusforusingscandaloustacticsinorder
tocallattentiontoourselves,andwillexpresstheirindignationatthe
procedureswehavesometimesfeltobligedtoadoptinordertodissociate
ourselvesfromcertainpeople.Weanswer:Itsnotamatterofknowingwhether
thisinterestsyou,butwhetheryouyourselvesarecapableofdoinganything
interestinginthecontextofthenewconditionsofculturalcreation.Yourrole,
revolutionaryartistsandintellectuals,isnottocomplainthatfreedomisinsulted
whenwerefusetomarchalongsidetheenemiesoffreedom.Yourroleisnotto
imitatethebourgeoisaestheteswhotrytorestrictpeopletowhathasalready
beendone,becausewhathasalreadybeendonedoesntbotherthem.You
knowthatcreationisneverpure.Yourroleistofindoutwhattheinternational
avantgardeisdoing,totakepartinthecriticaldevelopmentofitsprogram,and
tocallforitssupport.
OurImmediateTasks
WEMUSTCALLattention,amongtheworkerspartiesortheextremist
tendencieswithinthoseparties,totheneedtoundertakeaneffective
ideologicalactioninordertocombattheemotionalinfluenceofadvanced
capitalistmethodsofpropaganda.Oneveryoccasion,byeveryhyperpolitical
means,wemustpublicizedesirablealternativestothespectacleofthe
capitalistwayoflife,soastodestroythebourgeoisideaofhappiness.Atthe
sametime,takingintoaccounttheexistence,withinthevariousrulingclasses,
ofelementsthathavealwaystended(outofboredomandthirstfornovelty)
towardthingsthatleadtothedisappearanceoftheirsocieties,weshouldincite
thepersonswhocontrolsomeofthevastresourcesthatwelacktoprovideus
withthemeanstocarryoutourexperiments,outofthesamemotivesof
potentialprofitastheydowithscientificresearch.
Wemusteverywherepresentarevolutionaryalternativetotherulingculture
coordinatealltheresearchesthatarecurrentlytakingplacebutwhichlacka
comprehensiveperspectiveandincite,throughcritiquesandpropaganda,the
mostadvancedartistsandintellectualsofallcountriestocontactusinviewofa
collectiveaction.
Weshoulddeclareourselvesreadytorenewdiscussion,onthebasisofthis
program,withthosewho,havingtakenpartinanearlierphaseofouraction,
arestillcapableofjoiningwithus.
Wemustputforwardtheslogansofunitaryurbanism,experimentalbehavior,
hyperpoliticalpropaganda,andtheconstructionofambiences.Thepassions
havebeensufficientlyinterpretedthepointnowistodiscovernewones.