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The spectacular organization of
the present class society
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has led to two widely evident consequences.
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The first is a general deterioration in the
quality of both products and rationales.
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The second is the fact that those who claim
to find happiness in this society are obliged
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to maintain a careful distance from
the things they pretend to like
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because they invariably lack the intellectual
or other means that would enable them
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to attain a direct in-depth knowledge of them,
or to incorporate them into a coherent practice,
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or to develop any genuine taste regarding them.
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These consequences, which are already so evident
when it is a matter of housing conditions,
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cultural consumption, sexual liberation,
or the quality of wine, are naturally
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all the more pronounced when
we come to revolutionary theory
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and to the formidable language with which
that theory denounces our terminally ill world.
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It is thus hardly surprising that this combination
of naïve falsification and ignorant approval,
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so characteristic of the modern
spectacle, is reflected
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in the diversely uncomprehending responses to
the film entitled The Society of the Spectacle.
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This particular incomprehension is inevitable,
and will continue to be so for some time to come.
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The spectacle is an infirmity
more than a conspiracy.
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Those who write for the newspapers and magazines
...
