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The acclaimed history of the groundbreaking Situationist movement
The Situationist International, which leaped to the fore during the Paris tumult of 1968, has extended its revolutionary influence right up to the present day. In Leaving the Twentieth Century, the movement is captured for the first time in its full range and diversity.
McKenzie Wark traces the group’s development from the bohemian Paris of the ’50s to the explosive days of May ’68. She introduces the group as an ensemble, revealing the work and activities of thinkers previously obscured by the reputation of founding member Guy Debord. Roaming through Europe and exploring the vital lives its members—including Constant, Asger Jorn, Michèle Bernstein, Alexander Trocchi, and Jacqueline de Jong—Wark uncovers a group riven with conflicting passions. She follows the narrative beyond 1968, to the Situationists International’s disintegration and beyond: the ideas of T. J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sanguinetti’s pranking of the Italian ruling class, Alice Becker-Ho’s account of the anonymous language of the Romany, and Debord’s late films and his surprising work as a game designer.
A playful, smart and occasionally epigrammatic study of the Situationists ... this brilliant account is not only an essential work for our own times; it also comes with a cover that, with the minimum of manual dexterity, folds out into a collaborative graphic essay
Wark is a fine aphorist ... Playful, angry, depressed, celebratory, this is a book for anyone not convinced that there is no alternative to the way we live now
[A] smart overview of the situationist movement
Wark's readable explanation of the movement's ideas is the best I have read.
They could be treated as histories of the Situationist milieu and its aftermaths, but to do so would miss entirely what makes them such compelling and, at times, hilarious reading. [...] What really drives The Beach Beneath the Street and The Spectacle of Disintegration is their impatience with contemporary cultural and intellectual institutions that, for all of their posturing, are largely complicit with the prevailing political order
Wark is a marvellous guide to the micro-society of the Situationists ... She brings to the task a necessary sympathy, an encyclopedic knowledge, and a certain stylistic irrepressibility
Covering the SI’s adventures in philosophy, art, architecture, literature and cinema (and suggesting that we should do away with many of the distinctions between these categories), Wark traces a lineage we have apparently lost.. The author’s primary proposal is that although we live in serious times we should still have fun with time. We should treat history as a user’s manual. This history of the SI shifts with gay abandon between past, present and future tenses, and constantly rattles the boundaries