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.

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.

Diss. Univ. Erfurt, 2006.

No description available.

Théoricien, « stratège » – ainsi qu’il s’est défini – cinéaste, acteur de ses seuls films, mémorialiste, révolutionnaire, membre du lettrisme (initié par Isidore Isou) et membre de l’organisation politique Socialisme ou Barbarie ; cofondateur de l’Internationale lettriste (1952-1957) et de l’Internationale situationniste (1957-1972), Guy Debord n’a visé à rien comme à projeter sur ses productions les traits de l’exceptionnel. Pour ce faire, il s’est entouré de quelques dizaines de compagnons. Ce qui constitue la base extrinsèque du mythe de Guy Debord. Par la trame anecdotique, la première partie de cette recherche évoque les personnalités qu’il a fréquentées, les mouvements d’avant-garde politiques et artistiques qu’il a momentanément soutenus et plus souvent affrontés, mais qui, en partie, ont déterminé les orientations de sa vie et de sa pensée. Il s’est d’abord agi pour Guy Debord de projeter les promesses émancipatrices de l’art et de la poésie moderne dans l’espace urbain et les relations sociales. Dans un deuxième temps, la réalisation de ce projet est subordonnée à celui de la révolution. Cependant, ce dessein est inséparable d’une esthétique, autrement dit d’une base intrinsèque, « le style de la négation », écrit Guy Debord. C’est le sujet de la seconde partie de ce travail. La « dérive », la « métagraphie influentielle », la « psychogéographie », la « situation » et le « détournement » sont quelques-uns des concepts qui dessinent une esthétique de l’action artistique et politique. Par ailleurs, d’abord intuitivement, puis avec une conscience maîtrisée, Guy Debord convoque une grande variété de figures et de récits exemplaires dont, analogiquement, il vise à diriger vers soi une partie de la puissance et du prestige. Par la constitution d’un cadre imaginatif mythique et mythographique, Guy Debord s’affronte à un nécessaire dépassement de l’intériorité imaginante vers la réalisation du récit dans la matérialité historique. / Theoretician, “Strategist” – as he defined himself –, film director, actor in his own films exclusively, memorialist, revolutionary, member of the Lettrist movement (initiated by Isidore Isou) and member of Socialism or Barbarism, a political organisation ; co-founder of the Lettrist International (1952-1957) and of the Situationist International (1957-1972), Guy Debord aimed for nothing but project features of the exceptional on his works. To do so, he surrounded himself with a few dozens companions, which constitutes the extrinsic basis of the Guy Debord myth. Through the fabric of anecdotes, the first part of this research brings up the key figures he socialised with and the political or artistic avant-garde movements he momentarily supported, and more often confronted, but which determined in part the courses taken by his life and thought. At first, for Guy Debord, it was a case of projecting the emancipatory promises of art and modern poetry onto the urban space and social relations. Then, the realisation of this project becomes subordinated to the project of revolution. However, this goal can not be separated from an aesthetic form, that is to say from an intrinsic basis, “the style of negation”, according to Guy Debord. The second part of this work will focus on this subject. “Drift”, “Influential metagraphy”, “psychogeography”, “situation” and “diversion” are but a few concepts outlining an aesthetic of political and artistic action. Besides, Guy Debord summons a large variety of characters and exemplary narratives – first intuitively, then with a fully controlled conscience –, the power and prestige of which he analogically aims to direct partly at himself. By elaborating an imaginative, mythical and mythographical framework, Guy Debord faces the necessity to overtake the mind-wandering inwardness, towards the accomplishment of the narrative within the historical materiality.

Made available in DSpace on 2016-03-15T19:43:46Z (GMT). No. of bitstreams: 1 Marcia Maria Arco e Flexa Ferreira da Costa.pdf: 3141394 bytes, checksum: 4b8df58cbf92dbada6024e7c6b4e5010 (MD5) Previous issue date: 2010-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to examine three episodes of the cartoon The Jetsons, from 1968, interrelating its various themes and images with the aphorisms of the philosopher Guy Debord in his book The Society of the Spectacle, 1967. This review sought to reflect on the cartoon as a spectrum of society, understanding spectrum as a ghostly image, shadow or reflection of reality. In the context of this work is indistinguishable from the real spectrum, therefore, overlapping, recreate the relationships in society. Reifying everything and everyone. Showing the relationship of the consumer audience, the fictional character that leaves in a society where relations are mediated by images. Seeking understanding between the individual and an alienated image of a man who is reified, while, in fact, is connected through the world by images that he thinks are real, but that lead for the individuals, their history and their relations in society overstepping themselves. We question how cartoons are seen from an outthought and generalist point of view many times. Naively seen by parents, teachers, educators and children - without proper interpretation and dialogue about the images, where themes are consumed through the television screen in a variety of ways and behaviors. Facing the relevance of the cartoon in culture, education and in children training, we point out through the decoupage of the episodes, the relationship of many attributes of the cartoon that were already described by Debord's understanding of the society and that, in another sense, prefigures the society to come. As for the insertion of the term "multicultural industry", this happened by assuming a step beyond the cultural industry, in the sense that the cartoon in this context is a product to be consumed in many countries in order to be profitable, therefore, has to be purchased by various cultures. The nature of the different subjects covered in the cartoon seems very relevant to society as growing students and futures citizens throughout history. For that reason, scored-issues such as technology, consumption, violence and alienation among the other topics are addressed in this dissertation through the cartoon. / A presente dissertação se propôs a analisar criticamente três episódios do desenho animado The Jetsons, de 1968, inter-relacionando seus diversos temas e imagens com os aforismos do filósofo Guy Debord, em sua obra A Sociedade do Espetáculo, de 1967. Essa análise crítica buscou refletir acerca do desenho animado como espectro da sociedade, compreendendo espectro como imagem fantasmagórica, sombra ou reflexo do real. No contexto deste trabalho o real se confunde com o espectro, pois, imbricados, recriam as relações na sociedade, reificando tudo e todos, trazendo à tona a relação do espectador consumidor, do personagem fictício criado na relação social mediada por imagens. Buscando a compreensão entre o sujeito ou o indivíduo que se assevera enquanto tal, mas é imagem alienada de um homem reificado que, enquanto mercadoria, se relaciona através de um mundo de imagens que ele pensa serem reais, mas que conduzem sua história e suas relações em sociedade. Problematizamos o modo como os desenhos são vistos de forma pouco reflexiva, de maneira geral vistos ingenuamente por pais, professores, educadores e crianças , sem a devida interpretação ou diálogo acerca das imagens e temas consumidos através da tela da televisão nos mais variados objetos e comportamentos. Frente à relevância do desenho animado na cultura, educação e formação infantil, pontuamos, através da decupagem dos episódios, a relação de diversos atributos do desenho à leitura que Debord já fazia da sociedade e que, noutro sentido, prefigura a sociedade ainda por vir. Quanto à inserção do termo indústria multicultural , este se deu por supor um passo além da indústria cultural, no sentido de que o desenho animado, neste contexto, é um produto a ser consumido em muitos países para ser rentável, sendo, portanto, comprado por diversas culturas. A natureza dos inúmeros temas tratados nos desenhos animados pareceu muito relevante frente à sociedade e ao cidadão em formação e, por esta razão, pontuaram-se questões como tecnologia, consumo, alienação e violência, entre os temas tratados no desenho e tão pertinentes ao desenvolvimento dos educandos cidadãos formados ao longo da história.

Mina Loy’s work explores the gaudiness of consumer culture in its spectacle, extravagance and underlying falsity. “Giovanni Franchi,” “Three Moments in Paris” and “Virgins Plus Curtains Minus Dots” question the perceptive powers and autonomy of Baudelaire’s flâneur when applied particularly to the modern female subject. Moreover, “Hot Cross Bum” explores the excess involved in consumer extravagance, while “Feminist Manifesto” uses that extravagance to re-appropriate advertising towards Loy’s own ends. Throughout, consumer culture is seen as a false veneer; ultimately, however, Loy admits the paradoxical reality of this false consumer culture, and its real implications on modern life in “On Third Avenue” and “Mass Production on 14th Street.” Consequently, Loy gives a nuanced and sophisticated critique and exploration of consumer culture, and can be connected to theorists of spectacle like Guy Debord, of advertising like T.J. Jackson Lears, and to Baudrillard’s hyperreality.