Suchergebnisse

Welcome to Episode 11, of Fully Automated, an Occupy IR Theory podcast! Today, we have Part One of our first ever two-part episode, on the topic of Situationism! Joining me for this episode are two friends of mine from Columbus, Ohio, Charlie Umland, and Jim Calder. They are pretty sharp, when it comes to this topic. And, over the course of this two-part episode, they're gonna help us understand just who the situationists were, and who they weren't.

Now, coincidentally, situationism has sort of been back on the radar, lately. In February 2017, the New York Times ran a piece by Robert Zaretsky, called 'Trump and the 'Society of the Spectacle'.' In the piece, Zaretsky offers this very Situationist sounding line:
Like body snatchers, commodities and images have hijacked what we once naïvely called reality. The authentic nature of the products we make with our hands and the relationships we make with our words have been removed, replaced by their simulacra."
In the episode, Charlie, Jim and I get into some discussion of this piece. One of our big points is that perhaps Zaretsky's take is kind of off the mark. For him, the Trump is the master of the image, in a time when the very form of image itself, has hijacked our reality. Focusing on the image as the problematic form this way, however, Zaretsky's Situationists resonate somewhat too cynically. Indeed, it could be said they bear a familiar resemblance with the work of another famous French scholar, Jean Baudrillard. Now, Baudrillard doesn't hail from Situationism. But he is a critic of contemporary capitalism, and he is particularly preoccupied with the rise of what he terms 'hyperreality' — an economic era dominated by the logic of the image, wherein humans have been seduced into a state of passive consumption. For Baudrillard, where older modes of capitalism were predicated on production of actual goods, society today is a simulation; we are a consumer society, but what we consume is nothing more than signs, or symbols. In such a society, even political resistance has sort of dissipated into a kind of moral relativism; we no longer fight for any particular group's "code" — instead we adopt a stance of ironic "fascination."

This attitude of fascination, or what we might even call flanneurism, is exemplified in a scene in the recent Adam Curtis documentary, Hypernormalization. In this scene, we meet a young Patti Smith, giggling as she recounts the ironic prospect of poor people, watching movie trailers over and over, on a small screen outside of a cinema. Its as if she's hypnotized herself, by the total surrender to passivity of the people watching the screen. She is overwhelmed by the cynicism of it all, and can only laugh.

But in the episode, we make the argument that this is perhaps precisely the wrong way to interpret the Spectacle. Situationism is much more than simply a critique of seduction; the theory of spectacle is NOT simply that we have been reduced to the status of a mass of consumers, or that we are simply distracted by the ongoing barrage of the media's meaningless images. To the contrary, a key concept that has come up for us in our discussions is that of "separation" — which is something like the alienation experienced by everyday people, not just in capitalism, but also in other highly bureaucratized technical systems, like the Soviet Union, when rationalities of expertise work to delegitimize any demand they might make, for true collective participation in the productive systems that govern their lives. And, we argue, it is in this sense that Society of Spectacle is still very much a Marxist project. One need only consider how frequently the topic of the proletariat is discussed, and the various tasks to which it must attend, if it is to survive.

So, a little bit about our guests today. Both are from Ohio:

Charlie Umland is a cook. He likes to learn about art and philosophy and communism, and he is an unapologetic D&D fan.