schizopoiesis Guy Ernest Debord 忍者ブログ
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Guy Ernest Debord (December 28, 1931 - November 30, 1994) was a French Marxist theorist, writer, filmmaker, hypergraphist and founding member of the groups Lettrist International and Situationist International (SI). He was also briefly a member of Socialisme ou Barbarie.
Guy Debord was born in Paris. His father died early, and he was raised by his grandmother in a series of Mediterranean towns. He was a headstrong youth, and after graduating high school he dropped out of the University of Paris where he had been studying law. He became a revolutionary poet, writer and film-maker founding the Lettrist International schism with Gil J. Wolman. In the 1960s he led the Situationist International group, which influenced the Paris Uprising of 1968. Some consider his book Society of the Spectacle (1967) to be a catalyst for the uprising.[1]

In the 1970s Debord disbanded the Situationist International, and resumed filmmaking with financial backing from the movie mogul and publisher Gérard Lebovici (éditions Champ Libre). His two most recognized films date from this period: a film version of Society of the Spectacle (1973) and the autobiographical "In Girum Imus Nocte Et Consumimur Igni" (1978). After the dissolution of the Situationist International, Debord spent his time reading, and occasionally writing, in relative isolation, although he continued to correspond on political and other issues, notably with Lebovici and the Italian situationist Gianfranco Sanguinetti [2] and designed a war game [3]. He was married twice, to Michele Bernstein and Alice Becker-Ho.

His lifelong steady alcohol consumption began to take a toll on his health. Apparently to end the suffering from a form of polyneuritis brought on by his excessive drinking, he committed suicide,[4] shooting himself in the heart at his property (called Champot) in Bellevue-la-Montagne, Haute-Loire, on November 30, 1994.

In order to prevent the selling of Debord's archive to Yale University [5] the French Ministry of Culture officially declared it to be 'a national treasury', justifying this act by stating that "he has been one of the most important contemporary thinkers, with a capital place in history of ideas from the second half of the 20th century".[6]
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Guy Debord's best known works are his theoretical books, Society of the Spectacle and Comments on the Society of the Spectacle. In addition to these he wrote a number of autobiographical books including "Mémoires", "Panégyrique", "Cette Mauvaise Réputation..." and "Considérations sur l'assassinat de Gérard Lebovici". He was also the author of numerous short pieces, sometimes anonymous, for the journals "Potlatch", "Les Lèvres Nues," "Les Chats Sont Verts," and "Internationale Situationniste".

In broad terms, Debord's theories attempted to account for the spiritually debilitating modernisation of both the private and public spheres of everyday life by economic forces during the post-WW2 modernisation of Europe. He rejected as the twin faces of the same problem both capitalism of the West and the statism of the Eastern bloc. Alienation, Debord postulated, could be accounted for by the invasive forces of the 'spectacle' - "a social relation between people that is mediated by images". Debord's analysis developed the notions of "reification" and "fetishism of the commodity" pioneered by Karl Marx and Georg Lukács. This analysis probed the historical, economic and psychological roots of 'the media'. Central to this school of thought was the claim that alienation is more than an emotive description or an aspect of individual psychology: rather, it is a consequence of the mercantile form of social organization which has reached its climax in capitalism.

The Situationist International, a political/artistic movement organized by Debord and his colleagues and represented by a journal of the same name, attempted to create a series of strategies for engaging in class struggle by reclaiming individual autonomy from the spectacle. These strategies, including "dérive" and "détournement", drew on the traditions of Lettrism.
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