Portal de Periódicos da CAPES

Spectacle, Attention, Counter-Memory

1989; The MIT Press; Volume: 50; Linguagem: Inglês

10.2307/778858

1536-013X

Jonathan Crary,

Theatre and Performance Studies

Whether or not the term spectacle was originally taken from Henri Lefebvre's Critique de la vie quotidienne, its currency emerged from the activities in the late 1950s and early 1960s of the various configurations now designated as presituationist or situationist.1 The product of a radical critique of modernist art practice, a politics of everyday life, and an analysis of contemporary capitalism, its influence was obviously intensified with the publication of Guy Debord's Society of the Spectacle in 1967.2 And twenty-two years later, the word spectacle not only persists but has become a stock phrase in a wide range of critical and not-so-critical discourses. But, assuming it has not become completely devalued or exhausted as an explanation of the contemporary operation of power, does it still mean today what it did in the early '60s? What constellation of forces and institutions does it designate? And if these have mutated, what kind of practices are required now to resist their effects? One can still well ask if the notion of spectacle is the imposition of an illusory unity onto a more heterogenous field. Is it a totalizing and monolithic concept that inadequately represents a plurality of incommensurable institutions and events? For some, a troubling aspect about the term spectacle is the almost ubiquitous presence of the definite article in front of it, suggesting a single and seamless global system of relations. For others, it is a mystification of the functioning of power, a new opiate-of-the-masses type of explanation, a vague cultural-institutional formation with a suspicious structural autonomy. Or is a concept such as spectacle a necessary tool for the figuration of a radical systemic shift in the way power functions noncoercively within twentieth-century modernity? Is it an indispensable means of revealing as related what would otherwise appear as disparate and unconnected phenomena? Does it not show that a patchwork or mosaic of techniques can still constitute a homogenous effect of power?