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“... series of frozen gestures or ‘spectacles’. Their originality lay in the claim made in 1967 by Guy Debord in The Society of the Spectacle that the forces of ‘spectacular domination’ could be fought and defeated on their own terms. Unlike their close contemporaries in the postwar French Left, Socialisme ou Barbarie, the group led by Cornelius ...”

“... in a realm of amusements and commodities’. From the vantage of (any) realpolitik, Johnny Rotten, Guy Debord and the Cabaret Voltaire represent brief epiphenomenal waves on the powerful surge of human events – at most minor indices of greater and more important human struggles. Indeed, they customarily do not figure very largely in those monumental ...”

“... the Director of the Bancroft Library’ at the University of California at Berkeley, the ad read: GUY DEBORD Judging it necessary to disavow the new Editions Lebovici, SEEKS LITERARY AGENT or highly-placed independent editor for books that will expose the modernisation of the society of the ‘integrated spectacle’. Write to ... There was an irony ...”

“... only radical but also forged together in radical fashion. Yet, as these early letters of the young Guy Debord, the leader of the group, make clear, they were the stuff of legend from the start. In late July 1957, in a little town in the Ligurian Alps called Cosio d’Arroscia, Debord met with a motley crew of seven ...”

“... isn’t really quoting it: she’s delivering it, as if she were Kael. A bit later, when she cites Guy Debord on the society of the spectacle, Jessie Buckley’s place is taken for one shot by another actress, Colby Minifie, whom we saw earlier in a scene from a movie another character was watching. Where are we? In what place can we see people ...”

“... difficult moment: ‘Like Dombrovski . . . I’m like Iaroslav Dombrovski, you know . . . the guy who, when exiled from Poland, came to defend liberty in France? A great general!’ Incomprehension, blown out cheeks. ‘During the Commune, the Commune of Paris . . . you know, 1871!’ One person smiles and starts to walk the other way. Which is ...”

“... squeaks. The lettristes came to include such luminaries as Maurice Lemaître, Gil J. Wolman and Guy Debord as well as students, drunks and petty criminals. Many of them really believed that Isou was a messiah, even, briefly, Debord, who thereafter made it his life’s mission to undermine him. In 1952, ...”

“... was the emergent ‘spectacle’ of capitalist culture – in the sense used by the Situationist Guy Debord, of a world made over into representation for our consumption. Yet ‘the eventual triumph of both [modernism and spectacle] depended on the denial of the body, its pulsings and phantasms, as the ground of vision.’ The body had to be ...”

“... it to end.’ The Iron Curtain was by now a double-sided ‘spectacle’ in the sense described by Guy Debord. At the very moment the new managers in the East hoped to ‘demonstrate its superiority on the terrain of capitalism’, socialism ‘reveals itself to be a poor cousin of capitalism’; while capitalism’s ‘pseudo-freedom’ meant what the ...”

“... his belief in modernity and his homosexuality, helped along by references to Julia Kristeva, Guy Debord and the like, couched in cluttered criticalese; but he leaves it unclear how Morgan’s beliefs have determined his poetics. Reading Morgan’s most recent collection, Cathures (the old name for Glasgow), alongside the reissue of his early Beowulf ...”

“... it seems like a piece of conceptual art, a brashly clever take on the Society of the Spectacle (Guy Debord: ‘Everything that was directly lived has moved away into representation’). At other times, it’s more like a grand essay in what might be called the Marshall McLuhan tradition, making oracular – if not exactly proven – assertions about ...”

“... really rock. He wasn’t going to pick up a hard-core following or sell over the long term like Guy Debord or William Burroughs. He had no devoted readership and little chance of remaining in print for long, let alone being republished in thirty or forty years’ time. In short, a typical midlist author. Is this sour grapes talking? Who knows? It is ...”

“... off the masses (Christie himself downplays the importance of the Situationists, not least because Guy Debord was a ‘total arsehole in his everyday relationships’). In addition to attacking the homes of senior politicians and policemen, the Angry Brigade claimed responsibility for targeting an outside broadcast van at the 1970 Miss World Contest at ...”

“... Sixties as running from about 1963 to the oil crisis of 1973. Let me here repeat the words of Guy Debord, quoted by ffrench, which raise the question of the mortality of an avant garde, a matter that seems oddly to obsess these books, more than does another mystery, which is the coming into being of an avant garde. Avant gardes have but a brief ...”

“... cultural centres appear as sites of spectacular spectatorship, of touristic awe. Thirty years ago Guy Debord defined spectacle as ‘capital accumulated to such a degree that it becomes an image’. With Gehry and other architects the reverse is now true as well: spectacle is an image accumulated to such a degree that it becomes capital. Such is the ...”