Mehdi Belhaj Kacem | Tomb for Guy Debord

Guy Debord was the avant-garde’s Christ. Guy Debord was the avant-garde’s Christ. He was immolated by his own ideology, which he more than anyone (Tzara, Duchamp, Artaud, the Viennese Actionists…) had pushed to its extremes. He covered all of its possibilities, all of its impasses. His extreme attempts were neither successes, nor failures. Today, his path should be evaluated through other methods: the ones left to us in the wake of the avant-garde’s disappearance. To put it as Reiner Schürmann does: truth is a “conflictuality without agreements.” It is within Debord’s insurmountable contradictions, whose political, aesthetic, and existential preoccupations were…

UNE INSULTE À LA REPUBLIQUE: AIMÉ CÉSAIRE AND FRIEDRICH HÖLDERLIN …

UNE INSULTE À LA RÉPUBLIQUE: AIMÉ  CÉSAIRE AND FRIEDRICH HÖLDERLIN DECLARE THE FRENCH REVOLUTION A TRAGEDY, VOW TO SUPPORT #GILETSJAUNES MOVEMENT INSTEAD | by H. Bolin I. Introduction The study that follows concerns two tragic plays that treat the emergence and aftermath of a single global revolutionary horizon which included both the French and the Haitian revolutions. As the tragic genre suggests, Friedrich Hölderlin’s The Death of Empedocles (1799) and Aime Césaire’s And the Dogs Were Silent (1956) stage reflections on the initial successes and subsequent defeat of their respective revolutionary moments. What can tragedy or art offer to thinking…

Sophie Wahnich | IN DEFENCE OF TERROR: Liberty or Death in the French Revolution

I want never to forget how I was forced to become — for how long? — a monster of justice and intolerance, a narrow-minded simplifier, an arctic character uninterested in anyone who was not in league with him to kill the dogs of hell. — René Char   Provocative reassessment of the Great Terror as a price worth paying For two hundred years after the French Revolution, the Republican tradition celebrated the execution of princes and aristocrats, defending the Terror that the Revolution inflicted upon on its enemies. But recent decades have brought a marked change in sensibility. The Revolution…

Tiqqun | This Is Not a Program

“’77 wasn’t like ’68. ’68 was anti-establishment, ’77 was radically alternative. This is why the ‘official’ version portrays ’68 as good and ’77 as bad; in fact, ’68 was co-opted whereas ’77 was annihilated. This is why, unlike ’68, ’77 could never make for an easy object of celebration.”
— Nanni Balestrini, Primo Moroni, L’orda d’oro

Guy Debord and the Situationist International | Text and Documents [edited by Tom McDonough]

Guy Debord and the Situationist International Texts and Documents edited by Tom McDonough PDF Critical texts, translations, documents, and photographs on the work of the Situationist International 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),…

Giorgio Agamben | Marginal Notes on Comments on the Society of the Spectacle

Giorgio Agamben | Marginal Notes on Comments on the Society of the Spectacle (2) PDF     The Uses of the Body [Prologue] by Giorgio Agamben It is curious how in Guy Debord a lucid awareness of the insufficiency of private life was accompanied by a more or less conscious conviction that there was, in his own existence or in that of his friends, something unique and exemplary, which demanded to be recorded and communicated. Already in Critique de la séparation, he thus evokes at a certain point as intransmissible “cette clandestinité de la vie privée sur laquelle on ne possède jamais…

Giorgio Agamben | The Coming Community

Giorgio Agamben | The Coming Community (3) PDF       Guy Debord Letters to Giorgio Agamben Champot, 24 August 1989 Dear Sir: Thanks for the press clippings that you transmitted to me. I am happy to learn that Italy, despite certain quite serious obstacles, is better informed than France and several other countries, which are still at the moment of “Nashist”-museographical falsifications, laughably inaugurated by the burlesque “Pompidou Center.” And most particularly because I myself have had the chance to learn much in Italy. I send you a very recent book to complete your intelligent documentation. Quite cordially, Guy Debord…