The Spectacle of Disintegration. Маккензи Уорк
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Debord wrote in 1985, looking back on the life and times of the Situationists: “It is beautiful to contribute to the ruination of this world. What other success did we have?” The key to the Situationist project of transforming everyday life is the injunction “to be at war with the whole world lightheartedly.”11 This unlikely conjuncture of levity with lucidity, of élan with totality, has rarely been matched.
It’s not as if there aren’t enough studies of the Situationist International and its epigones. While written in another context, these lines from Becker-Ho seem to apply: “Time and again in all the works dealing with the same subjects and sharing the same sources, one finds the same bits of information paraphrased more or less successfully, often with the same words endlessly repeated. Other people’s findings, acknowledged in underhand fashion, re-emerge as so many new discoveries, stripped of quotation marks and references, and more often than not adding nothing to what is already known on the subject. But what this does is allow the whole field of information going unchallenged to be enlarged quantitatively, and on the cheap…”12
Culture is nothing if not what the Situationists called détournement: the plagiarizing, hijacking, seducing, detouring, of past texts, images, forms, practices, into others. The trick is to realize in the process the undermining of the whole idea of the author as owner, of culture as property, that détournement always implies.13 Thus this study makes no claims to originality. Rather, in its act of inflating the whole field of information on the cheap, it seeks only to encourage others in this far from fine art of cultural inflation. The Situationist archive is there to be plundered. Unlike Becker-Ho, The Spectacle of Disintegration makes no proprietary claims, but it does set out to be a version of these materials of use to us now.14 It’s the past we need for the critique of this present.
Situationist thought is often imagined as a species of Marxism, particularly of the Hegelian variety. Sometimes it is regarded as the inheritor of the fringe romantic poetry of Arthur Rimbaud and the Comte de Lautréamont. Sometimes its project is imagined to be that of superseding the avant-garde movements of Dada and Surrealism, and presenting a spirited rival to contemporary movements as diverse as Fluxus, Oulipo or the Beats. Sometimes it is recalled as a precursor to punk rebellion, anarchist dumpster-diving or postmodern fabulousness.15 That the Situationists took on the whole world does seem to align it with the more obstreperous of all these currents. What the Situationists fought against, much more vigorously than any of these movements, was their own success. The aim was to preserve something that could escape recuperation as mere art or theory. As Debord writes, “nothing has ever interested me beyond a certain practice of life. (It is precisely this that has kept me back from being an artist, in the current sense of the word and, I hope, a theoretician of aesthetics.)”16
The Situationists could be insolent, recalcitrant, insubordinate, but at their best their project of transforming everyday life had a playful quality. Everything is at stake, but the world is still a game. This attunement to life connects the Situationists to a quite different legacy. Michèle Bernstein, Gianfranco Sanguinetti and in particular Guy Debord were fond of quoting quite different sources which point toward different ancestors: Niccolò Machiavelli, Baltasar Gracián, Carl von Clausewitz and the Cardinal de Retz were, in their different ways, writers who tried to put into words the lessons of their own actions or the actions of others upon their time. Situationist writing thus belongs to that tradition of inquiries upon everyday life that ask: how is one to live? And that posit answers that are more than a critical theory, but form the tenets of a critical practice.
Debord was particularly fond of the Mémoires of the Cardinal de Retz (1613–79). A leader of the Fronde, that last aristocratic resistance to the imposition of absolutist monarchy in France, Retz contributes a quite particular orientation to everyday life that Situationist thought and action observes in its finest hours and neglects in its lesser moments. Writing a hundred years before Rousseau, Retz was not concerned with an armchair analysis of his inner life. He was crafting a public self, styling himself as a being in action. His Mémoires are an account of his successes and failures, but an account further perfected. A key quality with which Retz imbues his life is disinterestedness. His conduct of his affairs is something like a work of art or a well-played game. The chief aesthetic quality is being worthy of the events that befall him. He is versatile rather than a specialist. Often he acts from behind the scenes, an unseen power. The prevailing style is a certain appropriateness and consistency.
There is a certain aggrandizement to Retz, as there is to the Situationists, particularly Debord. Events are presented as if he was at the center of them. But what undercuts this seeming self-importance is a sense of the ridiculous quality of power in this world. Neither Retz nor Debord suffers fools gladly. Above all, this appreciation for human comedy relieves the writing of the bitterness of defeat. As Debord writes, in a style that is a modernized Retz: “I have succeeded in universally displeasing, and in a way that was always new.”17 To take this world seriously would be comic; to see the comedy of it is perfectly serious. What the Situationists share with Retz is a comic approach to life as a game which commits one to the cause of the world. Or to quote Debord, quoting Retz: “In bad times, I did not abandon the city; in good times, I had no private interests; in desperate times, I feared nothing.”18
Like everything else, the Situationists got caught up in the spectacle. They became a mere image of themselves. Critical reception of them finds itself led by the nose into accepting a spectacular version, in which the whole project is reduced to Debord’s personality, which is in turn reduced to a certain fanaticism.19 Alain Badiou reduces Debord to psychoanalytic terms, as posing an image of the real against the symbolic and imaginary. Simon Critchley sees him as a religious rather than an ethical thinker. Jacques Rancière sees only aesthetic project.20 Such readings take certain tactics at face value. Debord is not a modern Pascal, but a modern Retz; it is not faith but the game that is at stake.
“Of all modern writers,” Debord said, quoting the eighteenth-century writer François-René Chateaubriand, “I am the only one whose life is true to his works.”21 Perhaps the most enviable thing about his life is that he managed to avoid wage labor. He did not work for the university or the media. And yet he produced several films, edited a journal, ran an international organization, and wrote a few slim books. Debord: “I have written much less than most people who write, but I have drunk much more than most people who drink.”22
The drinking did him in. Peripheral neuritis is one of the more painful conditions from which a hard drinker can suffer. As a good Stoic, Debord put his affairs in order. He collaborated on a television documentary with Brigitte Cornand. He prepared his correspondence for publication with Alice Becker-Ho. He may (or may not) have burned certain documents. Then he shot himself in the heart. In the words of Louis-Ferdinand Céline, one of Debord’s favorite writers: “When the grave lies open before us, let’s not try to be witty, but on the other hand, let’s not forget, but make it our business to record the worst of human viciousness we’ve seen without changing one word. When that’s done, we can curl up our toes and sink into the pit. That’s work enough for a lifetime.”23
Debord was not by any means the only member of the Situationist International to leave her or his mark, and if other members did not exactly dazzle their century, they may yet have their chance to inform ours. The wager of this book is that critical practice needs to take three steps backwards in order to take four steps forward. First step back: the early, so-called artistic phase of the Situationists is richer than is usually imagined, and not so easily recuperated as mere art or architecture as is often supposed. Second step back: the political thought in action of the Situationists in the sixties is not well understood, and much of what transpired in this period still speaks to us today, if it is seen more broadly than May ’68. An early book, The Beach Beneath the Street, set itself the challenge of retracing these two steps.
The Spectacle of Disintegration concerns itself with a third step back: that the defeat of May ’68 did not mark the end of the Situationist project, even if the organization dissolved itself shortly afterwards. This book begins again with the story in the seventies, via the work not only of Debord but also his collaborations with his last comrade in the Situationist International, Giancarlo Sanguinetti, with Debord’s second