Reading for Debord

The concept of "the spectacle" interrelates and explains a wide range of seemingly unconnected phenomena. The apparent diversities and contrasts of these phenomena stem from the social organization of appearances, whose essential nature must itself be recognized. Considered in its own terms, the spectacle is an affirmation of appearances and an identification of all human social life with appearances. But a critique that grasps the spectacle's essential character reveals it to be a visible negation of life-a negation that has taken on a visible form. 

To be sure, everyone agrees that certain gestures repeated every day, such as opening doors or filling glasses, are quite real; but these gestures are at such a trivial level of reality ...

The use of everyday life, in the sense of a consumption of lived time, is governed by the reign of scarcity: scarcity of free time and scarcity of possible uses of this free time. Just as the accelerated history of our time is the history of accumulation and industrialization, so the backwardness and conservative tendencies of everyday life are products of the laws and interests that have presided over this industrialization. Everyday life has until now resisted the historical. This represents first of all a verdict against the historical insofar as it has been the heritage and project of an exploitive society. The extreme poverty of conscious organization and creativity in everyday life reflects the fundamental need for unconsciousness and mystification in a society of exploitation and alienation. 

Situationist International Anthology


 Friday November 15th 2019 I.P.F.F. returns to The Brattle Theatre / Cambridge, MA / 7pm

PLEASE TOUCH THE ART exhibit opens June 6th with panel discussion

Please Touch the Art

Please Touch the Art is a multi-sensory exhibition aimed at creating an immersive artistic experience that engages all of the senses. Not only does Please Touch the Art challenge visitors to consider how they may engage with a work of art beyond seeing, it also challenges visual artists to consider how their work engages a diverse range of audience members.

There are 52 pieces of art in this exhibition. As  you navigate this exhibition, you are encouraged to take your time with each work of art. Many of the pieces tap into multiple senses including sight, touch, sound, and even smell! See how many senses you can engage with each piece. Also included in this exhibition is a humanities exhibit presenting a History of Blind Accessibility in the Arts. Please proceed up to the third floor after experiencing the artwork to experience a selection of artifacts and imagery related to over a century of innovation, adaptation, and inclusion.

 3-D installation; "doppelgänger" on display Jan 25 - March 29 at the Mosesian Center for the Arts 321 Arsenal St, Watertown 02472

Perceptions of Self(ie) leverages art and technology to address equity, diversity and inclusion through a community building public art exhibition. The project will challenge perceptions around art making accessibility in today’s digital age by utilizing the ubiquitous “selfie” in conjunction with the more traditional self-portrait art form – both of which will be displayed side by side throughout the MCA galleries. The project includes a series of free workshops and a traditional call for art and culminates in an exhibit at the Mosesian Center for the Arts. The exhibition will take place in all three of our gallery spaces located throughout our 30,000sq ft facility and will extend through the community with the installation of large-scale posters and banners designed to feature the broad array of faces on view in the Perceptions of Self(ie) exhibition.

Honan-Allston Library Art Gallery, 300 North Harvard St., Allston, MA 02134
Organized by Unbound Visual Arts
March 10 - April 27, 2018
Reception - March 10, 2018, 1:00 - 4:30 pm 

Curated by John Quatrale,  Brenda Gael McSweeney, PhD, advisor

Exhibition assistance - Si Chin,  Emily Friedlander, Alexandra Kontsevaia, Lauren McLean
Artists include:  Jean Aserkoff, Audrey Banks, Romani Berlekov, Si Chen, Tsun Ming Chmielinski, Linda Clave, Jennifer Jean Costello, Elle Cox, Joanne Desmond, Peg Ehrlinger, Francis Gardino, Adric Giles, Susanna Hilfer, Wendy Holmes, Tom Jackson, Amanda Kidd Schall, Heidi Lee, Yanni Li, Pauline Lim, Susan Loomis-Wing, Elisandra Lopes, Brenda Gael McSweeney, Nadia Parsons, Connie Pemberton Glore, Jeffrey Powers, Mick Provencher, Ruth Rieffanaugh, Edward Sokoloff, Mary Vannucci, Christine Winship
March 10th Program:  Live music by pianist Mae Siu Wai Stroshane, complimentary appetizers, short artist and curator talks, and a slideshow prepared by the Hubert H. Humphrey Fellows from Boston University
See the Blog post UNITWIN Network: Gender, Culture, Development here.



Buy this album, it comes with a plethora of new artwork by Adric Giles, and it also includes the realist music you've ever heard : 

Bad History Month "A Warm Recollection" from MONDO FIASCO on Vimeo.

Situationist Manifesto

17 May 1960
reprinted in Internationale Situationniste #4 (June 1960)

Translated by Fabian Thompsett

THE EXISTING FRAMEWORK cannot subdue the new human force that is increasing day by day alongside the irresistible development of technology and the dissatisfaction of its possible uses in our senseless social life.

Alienation and oppression in this society cannot be distributed amongst a range of variants, but only rejected en bloc with this very society. All real progress has clearly been suspended until the revolutionary solution of the present multiform crisis.

What are the organizational perspectives of life in a society which authentically "reorganizes production on the basis of the free and equal association of the producers"? Work would more and more be reduced as an exterior necessity through the automation of production and the socialization of vital goods, which would finally give complete liberty to the individual. Thus liberated from all economic responsibility, liberated from all the debts and responsibilities from the past and other people, humankind will exude a new surplus value, incalculable in money because it would be impossible to reduce it to the measure of waged work. The guarantee of the liberty of each and of all is in the value of the game, of life freely constructed. The exercise of this ludic recreation is the framework of the only guaranteed equality with non-exploitation of man by man. The liberation of the game, its creative autonomy, supersedes the ancient division between imposed work and passive leisure.

The church has already burnt the so-called witches to repress the primitive ludic tendencies conserved in popular festivities. Under the existing dominant society, which produces the miserable pseudo-games of non-participation, a true artistic activity is necessarily classed as criminality. It is semi-clandestine. It appears in the form of scandal.

So what really is the situation? It's the realization of a better game, which more exactly is provoked by the human presence. The revolutionary gamesters of all countries can be united in the S.I. to commence the emergence from the prehistory of daily life.

Henceforth, we propose an autonomous organization of the producers of the new culture, independent of the political and union organizations which currently exist, as we dispute their capacity to organize anything other than the management of that which already exists.

From the moment when this organization leaves the initial experimental stage for its first public campaign, the most urgent objective we have ascribed to it is the seizure of U.N.E.S.C.O. United at a world level, the bureaucratization of art and all culture is a new phenomenon which expresses the deep inter-relationship of the social systems co-existing in the world on the basis of eclectic conservation and the reproduction of the past. The riposte of the revolutionary artists to these new conditions must be a new type of action. As the very existence of this managerial concentration of culture, located in a single building, favors a seizure by way of putsch; and as the institution is completely destitute of any sensible usage outside our subversive perspective, we find our seizure of this apparatus justified before our contemporaries. And we will have it. We are resolved to take over U.N.E.S.C.O., even if only for a short time, as we are sure we would quickly carry out work which would prove most significant in the clarification of a long series of demands.

What would be the principle characteristics of the new culture and how would it compare with ancient art?

Against the spectacle, the realized situationist culture introduces total participation.

Against preserved art, it is the organization of the directly lived moment.

Against particularized art, it will be a global practice with a bearing, each moment, on all the usable elements. Naturally this would tend to collective production which would be without doubt anonymous (at least to the extent where the works are no longer stocked as commodities, this culture will not be dominated by the need to leave traces.) The minimum proposals of these experiences will be a revolution in behavior and a dynamic unitary urbanism capable of extension to the entire planet, and of being further extensible to all habitable planets.

Against unilateral art, situationist culture will be an art of dialogue, an art of interaction. Today artists — with all culture visible — have been completely separated from society, just as they are separated from each other by competition. But faced with this impasse of capitalism, art has remained essentially unilateral in response. This enclosed era of primitivism must be superseded by complete communication.

At a higher stage, everyone will become an artist, i.e., inseparably a producer-consumer of total culture creation, which will help the rapid dissolution of the linear criteria of novelty. Everyone will be a situationist so to speak, with a multidimensional inflation of tendencies, experiences, or radically different "schools" — not successively, but simultaneously.

We will inaugurate what will historically be the last of the crafts. The role of amateur-professional situationist — of anti-specialist — is again a specialization up to the point of economic and mental abundance, when everyone becomes an "artist," in the sense that the artists have not attained the construction of their own life. However, the last craft of history is so close to the society without a permanent division of labor, that when it appeared amongst the SI, its status as a craft was generally denied.

To those who don't understand us properly, we say with an irreducible scorn: "The situationists of which you believe yourselves perhaps to be the judges, will one day judge you. We await the turning point which is the inevitable liquidation of the world of privation, in all its forms. Such are our goals, and these will be the future goals of humanity."

Saturday Febuary 28th 541 Mass Ave. Cambridge, MA 8pm - 1am

Mobius presents <3RAGES: A Post-Love Party, featuring five hours of live work by over 30 established and emerging artists.

Animal Hospital Ensemble
Liz Roncka, Yuka Takahashi & Jason Sanford
Emily Beattie
Emile Tobenfeld  (a.k.a Doctor T) Tom Plsek, Randy Pingrey and John Voigt
SHROUD [BATHAUS & Vela Phelan]
Andrea Zampitella 
Leah Cerrelio 
Margaret Bellafiore
Lo Gallucio with John Voigt and Tom Plsek
Anna Wexler & Marie Lalevee
Tom Plsek & Randy Pingrey's trombone sandwiches

This is an all ages event. Valid ID required to purchase alcohol.
About Mobius:
Mobius (est. 1977) is a nonprofit, artist-run organization, whose mission is to generate, shape and test experimental art. The members of the organization believe an effective strategy for supporting this art is to establish grounds that build relationships among fellow artists. Mobius is committed to structuring environments that foster projects incorporating a wide range of disciplines. This approach sets in motion situations where the artist's impact can be seen locally, nationally and internationally. Constructing art initiatives outside accepted frameworks and encouraging animated discourse with the public are fundamental to Mobius.

January 8 – February 20, 2015
Reception January 22, 5:30-7:30pm

The 30 Under 30 Exhibition is designed to display and encourage the dialogue of 30 young artists in the Boston area. This exhibition presents a diversified look at emerging artistic talent in Massachusetts.

Jurors: Cherie Clinton and Marie Craig, Co-Directors of Fountain Street Fine Art, Framingham, MA

Andrea Barone, Jeff Bartell, Emily Boucher, Shaun Clarke, Kate Drewniak, Jamaal Eversley, Chloe Feldman Emison, Rose Fristrom, Adric Giles, Suzi Grossman, Julian Guzman, Robin Hackett, Paul Hackett, Elizabeth Hatke, Vanessa Irzyk, Matt Jatkola, Alla Lazebnik, Owen Linders, Diana Lisanto, Haley MacKeil, Sarah May, Marc Morin, Grace Nicklin, Bryan Ramey, Alex Sewell, Cory Shea, Ian Tartasky, Chandra Taylor, Maiya Thorton-Hodge, Esther White

Sponsored by The Fuller Foundation

Arsenal Center for the Arts • 321 Arsenal Street, Watertown, MA 02472 more information visit :

GRIT: The Urban Landscape
September 12 - November 1, 2014
[Upper & Lower Galleries]
opening reception: Friday, September 12, 2014 5:30 - 7:30pm

The Copley Society of Art (Co|So) is proud to present the national juried exhibition GRIT: The Urban Landscape. Juried by Paul Ha, Director of MIT's List Visual Arts Center, GRIT unveils the raw fabric of the cityscape, delving into the interconnected nature of postmillennial life at its most fundamental level. Here, at the foundation of society, structure and chaos meld into one. GRIT is the examination of this intrinsic platform of the urban landscape.


"In respecting the Copley Society's curatorial vision for GRIT, I decided that these artists in the exhibition met their criteria the best.  The artists chosen convinced me that though the urban area that surrounds, overwhelms, and confronts us each and everyday can be the grit in our lives, that we all can also find moments of unparalleled beauty and solace from that same exact environment.  The exhibition proves that Boston is alive in the arts and that contemporary artists are out there every day using our great city as their inspiration and gives us a different way to look and experience our city."

Abiko, Aquilino, Baker, Belkakis, Bridges, Caemmerer, Campbell, Carland  Cherubini, Choi, Connelly, Cook, Craig, Curran, Czerniejewski, Davis, Fan, Felton  Ferry, Fisher, Flood, Foote, Fortini-Wright, Francis, Giles, Holiday, Holtz & Zadikow  Hoon, Kemler, Kendrick, Krim, Lauric, Lickwar, Marshall, Michals, Peterson, Phelan  Quintana, Stasiorowski, Weiss
"...Adric Giles's "Confined" shows a figure so twisted and contorted into the squarish space of the panel he is painted on, his neck looks like a corkscrew..." 
J.Wardwell, Boston Globe

Atlantic Works Gallery is pleased to present ENGENDERED, an exhibition conceived and curated by Samantha Marder.

June 7, 2014 through July 7, 2014

Opening Reception - Saturday, June 7 6-9 pm
3rd Thursday Reception - June 19  6-9 pm

 ENGENDERED explores how gender is variously perceived, running the gamut from the literal to the abstract.  In a variety of media, ENGENDERED depicts  aspects of the gender spectrum which may be clearly defined, fluid or ambiguous. The context may be biological, political, spiritual or sexual as well as personal statements of self identity, imposed identity or perceived identity.  Anxiety, serenity, humor,  and indifference, profundity and superficiality, may all be evident in these collected works.The show includes the work of twenty American artists responding to the subject of gender. 

Atlantic Works Gallery - 80 Border Street - E. Boston  02128

Here's an article about the show from Artscope Magazine

In fact it is very difficult to appreciate the full value of the various elements when confronted by them. It can even be said to be impossible to appreciate them at the first reading. These elements are outwardly as strange to you who have written them as to anyone else, and you are naturally distrustful of them. Poetically speaking, they are especially endowed with a very high degree of immediate absurdity. The peculiarity of this absurdity, on closer examination, comes from their capitulation to everything — both inad- missible and legitimate - In the world, to produce a revelation of a certain number of premises and facts generally no less objective than any others.
From Le Manifeste du Surréalisme, 1924