The spectacle is capital accumulated to the point where it becomes image.
The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living.
The spectacle presents itself as a vast inaccessible reality that can never be questioned. Its sole message is: “What appears is good; what is good appears.” The passive acceptance it demands is already effectively imposed by its monopoly of appearances, its manner of appearing without allowing any reply.
But real adults – people who are masters of their own lives – are in fact nowhere to be found. And a youthful transformation of what exists is in no way characteristic of those who are now young; it is present solely in the economic system, in the dynamism of capitalism. It is things that rule and that are young, vying with each other and constantly replacing each other.
We must destroy the Spectacle itself, the whole apparatus of the commodity society... We must abolish the pseudo-needs and false desires which the system manufactures daily in order to preserve its power.
The need to imitate that the consumer experiences is truly an infantile need, one determined by every aspect of his fundamental disposession. In terms used by Gabel to describe quite another level of pathology, “the abnormal need for representation here compensates for a torturing feeling of being at the margin of existence”.
The language of the spectacle consists of signs of the dominant system of production – signs which are at the same time the ultimate end-products of that system.
Conversely, real life is materially invaded by the contemplation of the spectacle, and ends up absorbing it and aligning itself with it.
In the spectacle – the visual reflection of the ruling economic order – goals are nothing, development is everything. The spectacle aims at nothing other than itself.
The spectacle thus unites what is separate, but it unites it only in its separateness.
The dominion of the concentrated spectacle is a police state.
History has always existed, but not always in a historical form.
The spectacle is the epic poem of this struggle, a struggle that no fall of Troy can bring to an end. The spectacle does not sing of men and their arms, but of commodities and their passions.
The things the spectacle presents as eternal are based on change, and must change as their foundations change. The spectacle is totally dogmatic, yet it is incapable of arriving at any really solid dogma. Nothing stands still for it. This instability is the spectacle’s natural condition, but it is completely contrary to its natural inclination.
Here, in order to remain human, men must remain the same.
Of the small number of things which I have liked and done well, drinking is by far the thing I have done best. Although I have read a lot, I have drunk more. I have written much less than most people who write; but I have drunk more than the majority of the people who drink.
The images detached from every aspect of life merge into a common stream in which the unity of that life can no longer be recovered. Fragmented views of reality regroup themselves into a new unity as a separate pseudoworld that can only be looked at. The specialization of images of the world evolves into a world of autonomized images where even the deceivers are deceived. The spectacle is a concrete inversion of life, an autonomous movement of the nonliving.
The spectacle does not realize philosophy, it philosophizes reality.
Though separated from what they produce, people nevertheless produce every detail of their world with ever-increasing power. They thus also find themselves increasingly separated from that world. The closer their life comes to being their own creation, the more they are excluded from that life.
Imprisoned in a flattened universe bounded by the screen of the spectacle that has enthralled him, the spectator knows no one but the fictitious speakers who subject him to a one-way monologue about their commodities and the politics of their commodities. The spectacle as a whole serves as his looking glass. What he sees there are dramatizations of illusory escapes from a universal autism.
The fetishism of the commodity – the domination of society by “intangible as well as tangible things” – attains its ultimate fulfillment in the spectacle, where the real world is replaced by a selection of images which are projected above it, yet which at the same time succeed in making themselves regarded as the epitome of reality.