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Situationism refers to an artistic and philosophical movement, evolving from the letterist movement in the 1950s. It emphasizes the seeking of "real life" and the creation of "situations" rather than the drudgery of labor (both in capitalist or communist factories), the alienation of the modern city, and the wanton consumption of simulated realities produced by film and television. Lettrism (also spelled Letterism) was an artistic style pursuing the hyper-minimalist refinement of art to its simplest and purest form. ...
The situationist literature was quoted widely during the 1968 Paris uprising
principle situationists
Guy DebordRaoul Vaneigem Guy Ernest Debord (December 28, 1931, in Paris – November 30, 1994, in Champot) was a writer, film maker, hypergraphist and founding member of the groups Lettrist International and Situationist International (SI). ... Raoul Vaneigem (born 1934) is a Belgian writer and philosopher. ...
The Situationist International
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Key Situationist Literature
Society of the Spectacle - Guy Dabord Revolution of Everyday Live - Raoul Vaneigem The Society of the Spectacle is a 1967 book by Guy Debord, which developed concepts relating to modern culture and commodity fetishism. ...
The premise of predeconstructive situationism suggests that the media is capable of deconstruction, given that sexuality is distinct from consciousness.
But predeconstructive situationism states that context is created by the masses, but only if the premise of the neocultural paradigm of discourse is valid; if that is not the case, Marx's model of postconstructivist discourse is one of "dialectic destructuralism", and hence intrinsically elitist.
The primary theme of Parry's[6] critique of predeconstructive situationism is the bridge between art and sexual identity.
The invention of something called "situationism", whether it were a political ideology or as an artistic movement, would represent the confinement of the situationist project to the limits of the disciplines which it aimed to transcend.
The SI's battle with potential proponents of an artistic "situationism" began early: shortly after the organisation had been formed in 1957 half of the Italian section was expelled on the grounds that their "experimental" approach equated to a rejection of rational analysis and of the possibility of value judgments.
Chimerical as it was, the spectre of situationism had many adverse effects on the SI: the abandonment of much of its original practice, the fostering of rhetorical polarisation, the self-contradictory final state of the group and its subsequent ignominious implosion.
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