Debord’s assertion that “all that once was directly lived has become mere representation” is central to his neo-Marxist arrival at the failures of image culture (reminds me of Jameson and Adorno) – “the historical moment at which the commodity completes its colonization of social life.” The most Jamesonian moment is perhaps the assertion of a failure of history in the spectacle, which obfuscates the past and fuses it with a future to create a neverending present. The waves of ecstasy and obsessive product trends also parallel religious fervor of ages past.
One might also think of the spectacle – which Debord argues arises in the 1920s as the confluence of mass media, advanced capitalism, and governments – as parallel to Benjamin’s concern with mass culture and fascism in “Art in the Age of its Technical Reproducibility,” though Benjamin seems to have more faith in film…
In the “society of the spectacle,” we see “the decline of being into having, and having into merely appearing,” so that “passive identification with the spectacle supplants genuine activity.” Debord takes Marx’s idea of the social relation between objects, rather than subjects, as an origin point: “The spectacle is not a collection of images. Rather, it is a social relationship between people that is mediated by images.”
Debord’s situationism proposes to wake up ideologically drugged spectators by using spectacular images to disrupt the flow of spectacle (detournement) – to interrupt suture, as it were (Oudart).