This thesis focuses on the work and thoughts of Guy Debord and with him associatedart group called Situationist International. In the begining we focus on the philosophical roots behind the most important of Debord's books - The Society of the Spectacle. In the main part of our thesis we deal with the way in which the situationists elaborated the legacy of the interwar avant- gardes. We put it in the context of the world of art at that time and show what aspects of dadaism and surrealism were crucial for the situationist production. In the end we analyze in a critical way the main reasons of the situationist failure. The most improtant of them is for us their strict refusal of any form of distance.

This thesis focuses on the work and thoughts of Guy Debord and with him associated art group called Situationist International. In the begining we focus on the philosophical roots behind the most important of Debord's books - The Society of the Spectacle. In the main part of our thesis we deal with the way in which the situationists elaborated the legacy of the interwar avant-gardes. We put it in the context of the world of art at that time and show what aspects of dadaism and surrealism were crucial for the situationist production. In the end we analyze in a critical way the main reasons of the situationist failure. The most improtant of them is for us their strict refusal of any form of distance.

Zugl.: Erfurt, Univ., Diss., 2006

Diss. Univ. Erfurt, 2006.

A dissertação analisa a trajetória da Internacional Situacionista durante o período de sua existência, de 1957 até 1972, salientando as ressonâncias dos ideários das vanguardas do Futurismo, Dadaísmo e Surrealismo, no ideário da I.S.. Sua importância está vinculada a reinvenção do espaço público como lugar de criação cultural e ação política, além do fato de serem recorrentes na arte contemporânea as ideias de obra coletiva, participação, construção efêmera e de evento, que nos remete as ações da I.S. e dos movimentos citados. O objetivo da pesquisa é analisar e compreender a ideia de situação construída, a qual era o propósito fundamental dos situacionistas. Nessa abordagem revelamos as origens da ideia de situação construída e como ela é fruto da revisão crítica que a I.S. faz das experiências e conceitos das vanguardas analisadas. A metodologia utilizada examina de forma comparativa os textos produzidos pela I.S. com os do Futurismo, Dadaísmo e Surrealismo, contrapondo suas ideias no campo da arte, cultura, política e meios de ação nos espaços urbanos. A leitura dos textos primários, obras de \"arte\" e jornais situacionistas formam a base da análise. Os textos pré-situacionistas assim como os textos referentes às vanguardas analisadas, indicam a arqueologia do pensamento situacionista, expondo as suas diferenças e aproximações fundamentais entre os movimentos. Enquanto os textos secundários, análise de historiadores e comentadores da I.S., expandem o universo situacionista no contexto das décadas de 50, 60 e 70, auxiliando na compreensão de suas teorias, julgamentos e ações. / The dissertation analyzes the history of the Situationist International (S.I.) during its existence from 1957 until 1972, emphasizing the resonances of the ideals of the vanguards of Futurism, Dadaism and Surrealism, the ideals of S.I.. Its importance is linked to the reinvention of public space as a place of cultural and political action. Besides the fact they are recurrent in contemporary art, the ideas of collective work, participation, construction and ephemeral event, which brings us the action of S.I. and movements mentioned. The objective of this research is to analyze and understand the idea of constructed situation, which was the fundamental purpose of the Situationists. In this approach reveal the origins of the idea of constructed situation and how it is the result of the critical of the S.I. makes the experiences and concepts of the vanguards analyzed. The methodology examines in a comparative way the texts produced by S.I. with Futurism, Dadaism and Surrealism, opposing ideas in art, culture, politics and means of action in urban areas. The reading of primary texts, works of \"art\" Situationist and newspapers form the basis of the analysis. The pre-situationist texts as well as texts concerning vanguards analyzed, indicate the archeology of Situationist thought giving the fundamental differences and similarities between the movements. While the secondary texts, analysis of historians and commentators of the S.I., situationist expand the universe in the context of the 50, 60 and 70, assisting in the understanding of his theories, judgments and actions.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-14T13:31:01Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERT FINAL LUIZ DO MONTE (DERIVA).pdf: 10122837 bytes, checksum: 6db0540667955b021d4d419d18966252 (MD5) / Made available in DSpace on 2016-07-14T13:31:01Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERT FINAL LUIZ DO MONTE (DERIVA).pdf: 10122837 bytes, checksum: 6db0540667955b021d4d419d18966252 (MD5) Previous issue date: 2015-07-31 / CNPq / Este trabalho tem como objetivo experimentar a deriva e a psicogeografia, técnicas provenientes do movimento artístico intitulado Internacional Situacionista, no centro expandido do Recife. A deriva e a psicogeografia foram conceitos criados pelos situacionistas por volta da década de 1950. Enquanto a psicogeografia se apresenta como uma ciência de apreensão das afetividades urbanas, a deriva é compreendida pelo movimento como uma técnica de passagem por ambientes da cidade que compõe um desdobramento prático dessa apreensão psicogeográfica. A pesquisa pretende verificar a validade das técnicas em relação às suas propostas de aplicação e as possíveis contribuições dessa revisitação de ideias situacionistas numa cidade contemporânea. Para aplicação das técnicas foi elaborada uma metodologia baseada primordialmente nos preceitos situacionistas, mas que também agregou questões relativas à fenomenologia, à psicologia e ao estudo de mapas e diagramas. A partir dessa metodologia foram realizadas pesquisas de campo de cunho experimental que geraram documentos, relatos e ilustrações referentes ao resultado desse processo. As conclusões expostas posteriormente apontam para a validação de algumas das hipóteses situacionistas relativas à aplicação das técnicas e discutem em grande parte o papel das novas tecnologias além de outros fatores que tornam a experiência da deriva e da psicogeografia singulares na contemporaneidade. / This work intents to experience the dérive and the psychogeography, techniques of the artistic movement called Situationist International in the expanded center of Recife. The derive and the psychogeography were concepts created by the situationists in the 1950’s. While the psychogeography presents itself as a seizure science of urban affections, the drift is understood by the movement as a technique of passage through city environments, which makes up a practical unfolding of psychogeographic apprehension. The research aims to verify the validity of the techniques in relation to their proposals and the possible contributions of revisiting situationist ideas in a contemporary city. For the application of the techniques a methodology based primarily in Situationists precepts was created, but also with the addition of questions related to phenomenology, psychology and the study of maps and diagrams. Based on this methodology were performed experimental nature field researchs that generated documents, reports and illustrations for the result of this process. The conclusions later exposed point to the validation of some of the Situationists assumptions related to the application of techniques and discuss mostly the role of new technologies and other factors that make the experience of drift and psychogeography unique in contemporaneity.

A dissertação analisa a trajetória da Internacional Situacionista durante o período de sua existência, de 1957 até 1972, salientando as ressonâncias dos ideários das vanguardas do Futurismo, Dadaísmo e Surrealismo, no ideário da I.S.. Sua importância está vinculada a reinvenção do espaço público como lugar de criação cultural e ação política, além do fato de serem recorrentes na arte contemporânea as ideias de obra coletiva, participação, construção efêmera e de evento, que nos remete as ações da I.S. e dos movimentos citados. O objetivo da pesquisa é analisar e compreender a ideia de situação construída, a qual era o propósito fundamental dos situacionistas. Nessa abordagem revelamos as origens da ideia de situação construída e como ela é fruto da revisão crítica que a I.S. faz das experiências e conceitos das vanguardas analisadas. A metodologia utilizada examina de forma comparativa os textos produzidos pela I.S. com os do Futurismo, Dadaísmo e Surrealismo, contrapondo suas ideias no campo da arte, cultura, política e meios de ação nos espaços urbanos. A leitura dos textos primários, obras de \"arte\" e jornais situacionistas formam a base da análise. Os textos pré-situacionistas assim como os textos referentes às vanguardas analisadas, indicam a arqueologia do pensamento situacionista, expondo as suas diferenças e aproximações fundamentais entre os movimentos. Enquanto os textos secundários, análise de historiadores e comentadores da I.S., expandem o universo situacionista no contexto das décadas de 50, 60 e 70, auxiliando na compreensão de suas teorias, julgamentos e ações. / The dissertation analyzes the history of the Situationist International (S.I.) during its existence from 1957 until 1972, emphasizing the resonances of the ideals of the vanguards of Futurism, Dadaism and Surrealism, the ideals of S.I.. Its importance is linked to the reinvention of public space as a place of cultural and political action. Besides the fact they are recurrent in contemporary art, the ideas of collective work, participation, construction and ephemeral event, which brings us the action of S.I. and movements mentioned. The objective of this research is to analyze and understand the idea of constructed situation, which was the fundamental purpose of the Situationists. In this approach reveal the origins of the idea of constructed situation and how it is the result of the critical of the S.I. makes the experiences and concepts of the vanguards analyzed. The methodology examines in a comparative way the texts produced by S.I. with Futurism, Dadaism and Surrealism, opposing ideas in art, culture, politics and means of action in urban areas. The reading of primary texts, works of \"art\" Situationist and newspapers form the basis of the analysis. The pre-situationist texts as well as texts concerning vanguards analyzed, indicate the archeology of Situationist thought giving the fundamental differences and similarities between the movements. While the secondary texts, analysis of historians and commentators of the S.I., situationist expand the universe in the context of the 50, 60 and 70, assisting in the understanding of his theories, judgments and actions.

In this thesis I examine the philosophical views of John Searle, Guy Debord, and Jean Baudrillard. These thinkers have radically different methodologies and theoretical alignments, but they are not entirely dissimilar. John Searle argues that there are two types of facts—those independent of human observation and those whose meaning depends on agreement. Guy Debord posits that modern society has replaced authentic social life with mere representation. The “spectacle” has replaced real interactions with others so that meaning itself is no longer authentic; it is treated as a commodity or currency. Jean Baudrillard argues that society has replaced reality with signs and symbols. Thus, human experience consists only of simulations, not reality itself. Each of these figures maintains that meaning is socially constructed. After examining the key assumptions of their respective theories, I demonstrate that their accounts are compatible and argue that their accounts are most cohesive when considered together.

This text looks at the political and cultural possibilities of détournement through the work of Guy Debord and my re-making of his film The Society of the Spectacle.

The history of United States – Latin American relations has been dominated by discourses of development since the earliest stages of independent nationhood. In the twentieth century, these discourses found an epistemological anchoring in the geopolitical concepts of First World and Third World well past the Cold War Era, as well as in the related notions of Empire and Neo-Colony in more recent postcolonial studies. As cultural concepts, these binary categories exceed the economic basis to which they claim reference. The dissertation examines this projection beyond the economic foundation as a function of spectacular media and focuses on the degree to which these categories (which regulate crucial aspects of the mutual U.S. – Latin American imagination) may constitute compromised epistemological dogmas firmly governed by the very capitalist status quo that they attempt to counter. In order to develop a theorization of the textual forces at work in the formation of the cultural concepts of First and Third World, this dissertation examines the work of Cuban revolutionary filmmaker Santiago Álvarez in dialogue with an update of Guy Debord’s theories on the spectacle, the dérive, and psychogeography. Together with critical considerations of theories of space-time, modernity and postmodernity, as well as of the nation-state epistemological order, it formulates a reading of the development discourses, called here “demarcational critique.” This model is also put into conversation with a key theoretical work on the topic (John P. Leary’s A Cultural History of Underdevelopment), a fictional film (Gregory Nava’s El Norte), and an experimental montage of crucial meta-reflective value (Arthur Tuoto’s Não Me Fale Sobre Recomeços). Through an exploration that seeks to blur the line between theoretical and fictional texts, this dissertation concludes that development discourses, and their main subsidiary notions of First and Third World, generally studied as purely economic categories, possess a spectacular dimension, and that the analysis of this dimension must involve cultural studies. It further highlights the problematic nature of those notions in relation to a postcolonial project by examining their Eurocentric, moralizing, and racialized nature. Finally, this dissertation proposes and demonstrates an alternative, non-national model for postcolonial discourse.