This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI's profound engagement with the art and cultural politics of their time (1957-1972), with a strong argument for their primarily political and activist stance by two former members of the group, T. J. Clark and Donald Nicholson-Smith.
Guy Debord and the Situationist International supplements both sections. It reprints important, hard-to-find essays by Giorgio Agamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles the number of translations of primary texts, which now encompass a broader and more representative range of the SI's writings on culture and language. In a field still dominated by hagiography, the critical texts were selected for their willingness to confront critically the history and legacy of the SI. They examine the group within the broader framework of the historical and neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI's reflections on the legacy of the avant-garde in art and architecture, particularly on the linguistic and spatial significance of montage aesthetics. Many of the translated works are by Guy Debord (1932-1994), the impresario of the SI, especially known for his book The Society of the Spectacle.
This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI's profound engagement with the art and cultural politics of their time (1957-1972), with a strong argument for their primarily political and activist stance by two former members of the group, T. J. Clark and Donald Nicholson-Smith.
Guy Debord and the Situationist International supplements both sections. It reprints important, hard-to-find essays by Giorgio Agamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles the number of translations of primary texts, which now encompass a broader and more representative range of the SI's writings on culture and language. In a field still dominated by hagiography, the critical texts were selected for their willingness to confront critically the history and legacy of the SI. They examine the group within the broader framework of the historical and neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI's reflections on the legacy of the avant-garde in art and architecture, particularly on the linguistic and spatial significance of montage aesthetics. Many of the translated works are by Guy Debord (1932-1994), the impresario of the SI, especially known for his book The Society of the Spectacle.
The essays in this collection provide a dazzling variety of perspectives while remaining faithful to the idea that the Situationist project contains a revolutionary message for present and future generations. More than this, with wit, lucidity, and elegance, the essays in this book dissect the century we have just left, anticipating, as the Situationists would have it, the revolution as a world of endless possibilities. -- Andrew Hussey, Lecturer in French, University of Wales, Aberystwyth, author of The Game of War: The Life and Death of Guy Debord The time has come to forget about the glossy cliches surrounding the group and put their theories back where they belong, in the Batallian gutter of the everyday political arena. After all, one should not forget that Guy Debord's project was a revolutionary one, a devastating critique of the effects of local and global capitalism. This volume is a timely jolt when one realizes that irreverence and political critique today are often considered an attack against the state, or even a terrorist act. In our new polarized world, debate and critique have become suspicious even when one attempts to 'understand' his/her own 'situation,' as independent thinking has become a threat to a generally welcomed blindness, stupidity, and nationalism. So this is a dangerous book because in its very structure it makes us think. Buy it, or better yet, steal it, as the 'Situ' used to say. It will clean up your brain from the mass of soot left there by your favorite newspapers. -- Serge Guilbaut, Professor, Department of Art History, Visual Art, and Theory, University of British Columbia, Canada
Tom McDonough is Associate Professor of Art History at Binghamton University, State University of New York. He is the author of "The Beautiful Language of My Century"- Reinventing the Language of Contestation in Postwar France, 1945-1968 (MIT Press).
"Ambitious and exciting....a fine compendium of the most poetic of political writings." - Publishers Weekly"
"Ambitious and exciting....a fine compendium of the most poetic of political writings." - Publishers Weekly"
Igniting as an arts avant-garde in the 1950s and exploding as politically revolutionary at the heart of the Paris 1968 uprisings, the Situationist International has proved a tenaciously compelling radical movement in terms of asthetics and political theory. The MIT anthology, which includes both hard-to-find original material along with critical essays focused on central figure Debord, is ambitious and exciting, focusing on the group members' significance as political and urban theorists, refusing to let them be written off as idiosyncratic heirs of dada and surrealist art-as-provocation. The argument is persuasive, though the critical essays devoted to their art (like a lengthy amble through Debord's several films) aren't nearly as riveting as the group's manifestos, musings and collective position papers. Only the passionate note by T.J. Clark and Donald Nicholson-Smith matches the intensity of the original documents and no wonder, as they briefly were the group's British wing. The Consul, in which SI founding member Rumney recounts his life and times, is the second in a series of oral histories assembled (with photos) by French publisher Berreby, but it lacks the savor of '50s Parisian street and intellectual life that informed his earlier volume, The Tribe. Rumney's story doesn't revolve around the SI (particularly as he was booted early on); other claims to fame include a painting in the Tate Museum and a marriage to scion/suicide Pegeen Guggenheim. That might be enough to render Rumney's tale engaging, or at least juicy, but his self-justifying soliloquies stand in the way, and his vague uninterest in politics leaves the book without a center. But the MIT anthology stands as a fine compendium of the most poetic of political writings, albeit still a partial measure for fans, followers and future revolutionaries awaiting the complete translations of the journal Situationist Internationale. (Sept.) Copyright 2002 Cahners Business Information.
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