/lit/ - Literature

>>12580894
>Yes I'm interested in situationism and try to find out how it could relate to accelerationism but I don't know where to talk about that.
well anon you're in luck. have you read this? good book on the situationists, with a bunch of stuff about Baudrillard - both situationist and kinda-sorta proto-accelerationist of a sort - and written by none other than Sadie Plant, who was Land's writing buddy during the CCRU days. how about that?

>I just wanted to use basic confrontational imageboard tactics to get some kind of answers, but I guess it failed.
as Land says, in a wonderfully Taoist turn of phrase: what if knowledge were a means to deepen unknowing?

> Cheers, and don't stop schizoposting <3.
ty most kindly. enjoy your nap, and happy reading.

>>11858352
remember also that baudrillard is much more interested in nietzsche than in hegel, and he doesn't think too highly of psychoanalysis either (so that means no freud and no lacan). like D&G he thinks marx is key but he also wants to bring his own metaphysics to the table.

baudrillard is trying to look at the structure of capital from outside the bourgeois perspective, which means anthropology, and this is why you'll want to read mauss, who he references in SE&D, or he makes references to cargo cults and the trobriand islanders &c in TCS. if you have a sense of how he likes to look at things in this way, as being a kind of maximal outsider, some of the things he says in S&S will make more sense.

or not! he likes being hyperbolic and catastrophic too. but like all writers it's a kind of a private jargon he concocts for his own purposes. anyways, have a look at pic rel and perhaps this will clarify some things. hope it helps.

>In common with other situationist texts, therefore, The Society of the Spectacle painted a picture of a society which believes itself capable of providing everything, satisfying all desire, relieving every burden, and fulfilling every dream. But this is also a world which insists that every moment of life must be mediated by the commodity form, a situation which makes it impossible to provide anything for oneself or act without the mediation of commodities. A spectacle can only be watched and enjoyed at a distance, from where it appears glamorous and desirable; participation may be possible, but its form and extent will be predetermined by the context in which it appears. The promises of self-fulfilment and expression, pleasure and independence which adorn every billboard are realisable only through consumption, and the only possible relation to the social world and one’s own life is that of the observer, the contemplative and passive spectator. The commodity form places everything in the context of a world organised solely for the perpetuation of the economic system; a tautological world in which the appearance of real life is maintained in order to conceal the reality of its absence. Bombarded by images and commodities which effectively represent their lives to them, people experience reality as second-hand. Everything has been seen and done before; quests for fulfilment are always frustrated, and just as workers find no satisfaction in the products of their labour, so ‘no one has the enthusiasm on returning from a venture that they had on setting out on it. My dears,’ said Debord in one of his films, ‘adventure is dead.’