Tag Archives: situationist international

To destroy the world

The catastrophe that we are approaching is unavoidable. It is no longer a question of preserving civilisation intact against the forces of barbarism. Civilisation is barbarism—this civilisation, our shared present. Now, it is the question of which catastrophe we face: one completely out of control, with all the terrible anonymity that capital conjures in chasing itself across the global climate; or one we consciously face together, joined in a human community that we create amidst the disaster to save ourselves and the planet. Guy Debord once wrote that “victory will go to those who are capable of creating disorder without loving it”.[2] Today, the disorder of capital creates us, and we must find victory amid this disorder and through it, whether we love it or not.


The world overturned would be charming
In the anti-man’s eyes

Last year, we were presented with what at first sight seems to be a paradox. Beside the heightened anxiety and fear accompanying the outbreak there was also a palpable sense of excitement. In our part of the world the pandemic has been far from the devastating blow that has maimed and killed millions. Rapidly, the initial panic of the unknown that lay in our immediate future gave way to blissfully quiet streets. To be sure, this was far from a catastrophe. But meanwhile, it was impossible to forget that this brief respite from the intensities of capitalist life had, as its condition of possibility, precisely the disastrous events unfolding across the globe.

Finding pleasure in this brief slowdown of global capitalism, I was reminded of something I had stumbled across in Ghérasim Luca’s writing. While finishing his work, The Objectively Offered Object, I was struck by two passages. The first, followed upon Luca’s declaration of his belief that he had foretold a devastating earthquake in Bucharest in 1941—an earthquake through which he lived:

During, or else immediately after, the earthquake, either the sole or the first human erotic desire is to masturbate. […] This explanation is accompanied by the enormous excitation provoked in the unconscious by infantile rocking motions. When describing their experiences during the earthquake, almost everyone spoke about the rocking of objects—and above all of light fixtures—with a masturbatory hand gesture. The desire to masturbate was being satisfied by this symptomatic action in each account. [3]

I find Luca simultaneously a puzzling and compelling figure. On the one hand, he and his comrades in the 1940s held to a revolutionary position that was intransigent, against both the depredations of Stalinism and those tendencies that threatened to drag the Surrealist movement back into the art ghetto from which it had emerged and fought against. On the other hand, Luca appeared to be immersed in what can only be described as the most intensely idealistic aspects of surrealism, namely the growing tendency to relate the surrealist theory of objective chance to the mysticism of astrology and magic. Certainly, Luca attempted a materialist reckoning with this, but so far, I remain unconvinced.

In the quote above, Luca’s symptomatic reading of the hand movements of survivors of the earthquake is suggestive but far from persuasive. To my mind, a more fruitful line of enquiry would be found in attempting to unveil the general erotic and sensual sublimations and expressions associated with disaster, as much as the absence of such. For instance, in the wake of situations that induce panic and rampant anxiety I have felt this urgent need to fuck or masturbate. More often it has been simply the desire to hug someone else, to reach out and feel the warmth of life and the living. Conversely, it has also manifested as the traumatic desire to avoid others. If not exactly erotic, perhaps all expression of Eros, in Freud’s and Herbert Marcuses’s sense of the word.

However, it was another passage immediately following upon the one above that struck deepest:

Two years earlier [in 1939], during a conversation with my friends in Paris, I had claimed that I would find great satisfaction in a major catastrophe—the destruction of the Earth by a comet, for example, as foretold by astronomers. In a time of violent revolutionary pessimism, like that during which this conversation took place, several weeks after France’s entry into the war, it seemed justifiable to exchange one desperate but vital solution for another that was so natural yet so alien to us. At the level of desire, such a catastrophe being predicted in advance would have offered me, hastily and for a limited time, the satisfactions a revolutionary transformation of the world would have given me over a whole lifetime.[4]

I believe that this desire for the world to be thrown off of course rather than continue along the same dreadful trajectory—with or without a positive sense of revolutionary transformation—can be closely correlated with the experience of alienation and estrangement under capitalism. Often, as an imaginary escape and recompense for my existence as a plaything of capital, I have revelled in the most brutal and brutalising visions of destruction. A particularly memorable one was visited upon me as a sales assistant working in a bookstore. It was toward the end of a particularly boring day’s labour, while cast adrift on a sale table in the main concourse of the mall, without the company of my fellow proletarians. Stupefied by the never-ending stream of masses jamming the shopping corridors and their bland enticements, I pictured myself manning a 50-calibre machine gun, and methodically shooting every person and thing that crawled and slithered. Inevitably I laughed manically all the way.

As André Breton once mordantly noted of such fancies,

Anyone who, at least once in his life, has not dreamed of thus putting an end to the petty system of debasement and cretinization in effect has a well-defined place in the crowd, with his belly at barrel level.[5]

To be sure, Breton was not suggesting that such a dream was a reasonable solution to the unreasonable demands of life under capitalism, but rather that such brutal fantasies are at least as sane as the insane social relations that nourish them—and perhaps, in an objective sense, saner than meekly accepting the nigh unbearable contradictions and humiliations of daily capitalist life.

Such fantasies are almost always related to the emptying out of daily existence at the hands of the oppressive and atomising effects of wage labour—a grim, fantasy recompense for the actual reality of having your lifetime stolen because of the unfortunate need for money in this world. In part, this must explain what Ghérasim Luca was attempting to describe above. The fantasy of catastrophe and destruction, if viewed with an eye to the depredations of capitalist subjectivity, is akin to the dream of revolution. That such fantasies are not dependent upon the practical replacement of capitalism by a better, more rational social order is beside the point. Rather, it is a question of the simple desire for this present state of being to end—suddenly and totally. The great refusal of this reality and its much-vaunted necessity. Surely, without the ability to imagine the end of the world—even its utter destruction—we cannot begin to imagine what we would put in its place.

Perhaps this is why I am unconvinced by a belief, proposed by Slavoj Žižek, Frederic Jameson and Mark Fisher (take your pick), that has recently become a platitude: that today it is easier to imagine the end of the world than it is to imagine the end of capitalism. Visions of the end have been common coin in European culture long before the ascendency of the Christian tale of apocalypse—and in fact, the latter drew upon a longer tradition of apocalypse in Indo-European cultures. More proximally, the end of the world—or more precisely its destruction by various forces—has accompanied the rise to dominance of industrial capital. Indeed, some even conceived of this rise in terms of the clarion of universal destruction, spewing forth from the Satanic mills. What is more striking, to my mind, is not the opposition of hopeless disaster and utopia but rather their proximity: not just socialism or barbarism, but rather socialism and barbarism.

In truth, behind the guise of the cultivated critic who would sooner wield a phrase than a rifle, Žižek, Jameson, Fisher, and others, disguise their nostalgia for the actual dystopias of “really existing socialism” as a mourning for the passage of the utopian project. But such a project was never the property of the various socialist and communist Internationals that laid claim to it—at best they were the expressions of a desire that emerged from the everyday experience of proletarians themselves. At worst, they were the counter revolution incarnate.

For those like Ghérasim Luca, and other revolutionists caught between the Charybdis of fascism and the Scylla of Stalinism, the end of the world was palpably underway in the 1940s. In drawing attention to the similarity between the desire for catastrophe and revolution, Luca clearly posed the palpably destructive moment of revolutionary desire. This is not to fetishize destruction for the sake of it, but rather to be clear that not only is the destructive moment of revolution unavoidable, it is already happening under the guise of the much vaunted peace of the global market—replete with runaway climate change and wars that are in truth the never ending conditions of this “peace”.

To not merely preserve but rather revolutionize the idea of human community we must overturn this world. But before we can even do that, we must be clear: the present is already the destruction we fear. Nothing can wish it away; it is the truth we must not only better understand but more fully embrace.

Note on the détourned images, above: Words: after Ghérasim Luca; images: from Jack Kirby’s The Eternals.


[1] From the poem, ‘Useless Stake’, in André Breton, René Char, and Paul Éluard, Ralentir Travaux, trans. Keith Waldrop, Cambridge, MA: Exact Change [1930] 1990, p. 50.

[2] Guy Debord, ‘Theses on Cultural Revolution [1958],’ in Situationist International Anthology, trans. Ken Knabb, 2006, p. 54.

[3] Ghérasim Luca, ‘The Objectively Offered Object [1945],’ in The Passive Vampire, trans. Krzysztof Fijalkowski, Prague: Twisted Spoon Press, 2008, pp. 59, 60.

[4] Ibid., pp. 60-61.

[5] André Breton, ‘Second Surrealist Manifesto [1930],’ in Manifestoes of Surrealism, trans. Richard Seaver and Helen R. Lane, Michigan: University of Michigan Press, 1998, p. 125.

To experiment with the creation of everyday life

fig. 1. Who are the enemies of poetry? All those who use poetry as an end in-itself, not as a means for life and liberation. Which is to say all those who fetishize the poem over poetry itself. Graphic detourned from Frank Hampson’s Dan Dare, Pilot of the Future, Rogue Planet, April 1956.

I wrote the following essay for the collection Suddenly Curving Space Time: Australian Experimental Poetry 1995-2015 (Brisbane: non-Euclidean Press, 2016). In the essay I perhaps too briefly and bluntly attempted to outline the radical trajectory of avant-garde and experimental art in the 20th century against what now passes for “avant-garde” and “experimental” in the cynical art markets and cafeterias. If I were to write it today, I would be more forgiving of the original surrealists. Whereas I agree with Guy Debord’s critique of the surrealists, notably that André Breton in effect fetishized the irrationality of unconscious desire as the true font of all human creativity, I would argue that nonetheless the surrealists struggled—and Breton in particular—to distinguish the ongoing surrealist experimental inquiry into new forms of consciousness and everyday practices against its domestication as so many art objects readily commodifiable (particularly of the painterly styles that are now synonymous with ‘surrealism’). I hope to return to the question of this tension among the surrealists—between a properly surrealist practice and its reduction to art-objects—in a future essay.

The thrust of this essay is its call for a new revolutionary practice beyond merely the umpteenth iteration of so-called radical art—or the nth generation of boring political radicalism and reactionary Marxism for that matter. A pox on the artists and the wannabe politicians.

From the essay:

In 1957 when the situationists kicked off their experiments in living and ‘unitary urbanism’ they saw themselves as starting from the bases the surrealists had already staked out in 1924. Today we need to start again from the bases that the situationists established in 1968; and the surrealists in 1924; and the Dadas in 1916; and etc. However such bases are merely points of departure not closed projects to be emulated repetitively or ironically. In today’s world in which the look of surrealism has triumphed throughout popular culture, the original surrealists desire for a new way of living beyond the mundanity and horrors of capitalism seems more pertinent. As the situationists argued against their surrealist forebears, what is implicit is in need of being made explicit. It is not enough to limit our experiments to art alone. To the extent that our appropriations remain purely artistic—as poems, paintings, and even more process based conceptual works—is the extent to which we will be defeated and recuperated. The surrealists never tired of explaining: there is no poetry for the enemies of poetry. And poetry for the surrealists, beyond their paintings and poems, was synonymous with the playful creation and recreation of life itself. 

Anthony Hayes
Canberra, April 2021

To experiment with the creation of everyday life

Today in the worlds of artistic production and consumption the adjectives “experimental” and even “avant-garde” are used most often to describe works that are perceived to be formally different to more “mainstream” or conventional artistic modes of production (see Gerald Keaney’s introduction for more details with regard to written poetry). However such a formal definition of “experimental” often masks the historical roots of the terms use among the artistic avant-garde of the first half of the 20th century. For instance, both the terms “experimental” and “avant-garde” were deliberately used in order to evoke an association with the communist and anarchist political avant-gardes of the late 19th and early 20th centuries, and their experiments in new forms of social life. The present use of “experimental” often bears little resemblance to its avant-garde origins, having become a “floating signifier” of sorts (to use a phrase derived from semiotic theory). This is not necessarily a bad thing; however, it is worth considering why such a de-contextualisation took place and whether or not we should attempt to infuse once more contemporary artistic practices with the “experimental” utopianism from which it so obviously descends.

In the early 20th century, some artists in Europe and then elsewhere in the world styled themselves “experimental” and “avant-garde”. At the time such declarations were not merely in relation to the formal experiments in the arts—such as the various experiments with poetic and novelistic form (e.g. Rimbaud, Lautréamont, Mallarmé, Joyce) and in painting and other plastic arts (e.g. Cezanne, Picasso, de Chirico, Giacometti). In addition to their startling formal playfulness, these artistic experimenters pictured themselves in the avant-garde of a social upheaval they saw all around—the rapid transformation and creation of a global society via the spread of capitalism and in particular the forces which opposed it. In 1917 the poet Apollinaire would call this the ‘New Spirit’.

The first self-professed avant-gardists, the Futurists, declared their art in keeping with the terrific technical development evinced by Industrial society, and to be in advance of the lagging culture of their day. However, their avant-garde ended in the decidedly archaic celebration of fascist brutality (though the Russian Futurists fared better, caught up in the brief cultural efflorescence in the wake of the Russian Revolutions of 1917). It was left to other contemporaries, notably German Expressionists, Russian Futurists, and various Dadas and surrealists, to draw out the potentially explosive and progressive nature of such artistic experimentation. The surrealists in particular declared themselves “determined to make a revolution” in order to break apart all the fetters of the mind, “even if it must be by material hammers!” (in their Declaration of 27 January 1925). However, the surrealists fell prey to the confusion of their times, in particular the enervating results of the Russian Revolution and the effective burial of the international working class movement by Stalinism. Capped off by the fascist counter-revolution of the 1920s and 30s, the brutal destruction of the Spanish Revolution by Franco, Hitler and Stalin, and the hitherto undreamt-of destruction of the Second World War, the new world fashioned on the backs of the industrial proletariat proved itself more resilient to the often solely artistic criticism of art made by these avant-gardists.

The post-1945 world saw the previously controversial styles of the surrealists and Dadas welcomed into the corrosive worlds of the art market and academic dissection, two processes that further stripped the formal achievements of the avant-gardes from their association and attachment to the revolutionary criticism of capitalism. In the 1950s and 60s artists and revolutionists associated with the Situationist International (1957-72) called such processes “recuperation”, pointing to the way then contemporary experiments in artistic form divorced from broader social and political criticism tended to dissipate precisely the social applications of such experimental creation and criticism. Against this “recuperation” the situationists proposed to realise the “revolution of everyday life” that the surrealists had originally proclaimed in the 1920s, but had dissipated in largely artistic ventures and misbegotten fidelities to Stalinism, Trotskyism and the irrationalist mysticism that many surrealists were never able to completely shake off.

The situationists argued that avant-garde artists should focus on the possibilities at hand in contemporary society. Capitalist industrialism and the increasing mechanisation and automation of production had ushered in a material abundance that immediately raised the possibility of a more leisurely and creative existence for all. However, the capitalist and bureaucratic classes East and West enforced a universe of work and militarism as the corollary of this new mass market of commodities (even while many of their ideologues pondered the coming future of automation and leisure). The situationists argued that under such conditions radical artists should focus on two tasks. Firstly, the elaboration of an experimental practice directed toward demonstrating the creative possibilities of contemporary technical and cultural potentialities beyond their capitalist use; and thus, secondly, the development and dissemination of a revolutionary critique of contemporary society which drew upon both the modern artistic and political-philosophical avant-garde movements. Accordingly, it was not enough to ponder the possibilities of automation and leisure, because without a decisive break with capitalist society such processes would be used to enforce new forms of work, unemployment and more marketing opportunities (as we future dwellers know only to well).

In keeping with the idea of the potentialities already present within the capitalist social order the situationists proposed “détournement” as their central method. Derived from the French verb signifying “diversion” and “hijacking”, the situationists argued that the most advanced artists had already used “détournement”—notably the collage and “automatic” techniques pioneered by Cubists, Dadas and surrealists. What they proposed, particularly in the face of the repetitive nature of formal artistic experimentation in the post-war period, was that détournement should be made the key method of the artistic and political avant-gardes. Thus, they later argued that Marx’s early conception of “revolutionary practical, critical activity” could be détourned from the mutilated version that traded under the name of “Marxism”. However, détournement is not simply “appropriation” or “reappropriation”, as some later day postmodernists would like to imagine. For instance, the situationists return to Marx was made alongside of their attempt to understand the nature of the contemporary capitalist spectacle. The situationists used the term “commodity-spectacle” to describe the then new mass consumer markets in commodities that were both the logical development of, and divergent elaboration of the capitalism Marx criticised. 

As the 19th century pioneer of détournement, Isidore Ducasse (aka the Comte de Lautréamont), had argued, the creative plagiarism that lies at the heart of all human endeavours cannot be reduced to the mere copying or facile rearrangement of previously fashioned components. Rather, détournement proposed to improve on the original, adapting ideas and repurposing them for current needs.

Ideas improve. The meaning of words plays a role in that improvement. Plagiarism is necessary. Progress implies it. It closely grasps an author’s sentence, uses his expressions, deletes a false idea, replaces it with the right one.—Isidore Ducasse, Poesies, 1870

The situationist conceived of “détournement” as both the most significant discovery of the artistic avant-gardes of the 19th and 20th centuries, and a sort of “ultima thule” beyond which solely artistic practices could not proceed. What they meant was that most attempts to revolutionise artistic expression (even those that ended in a Dada like anti-art) had effectively exhausted the formal innovation of the arts. Certainly, one could continue with different contents, chiselling away at the already discovered new forms (collage, automatic poetry, the use of found objects, abstraction, etcetera, etcetera). But all that would be achieved would be the elaboration of so many works of art, liable to be sold in the markets for art, or not as the case may be. Instead—and here the situationists clearly drew upon the original sense of “experimental” and “avant-garde” amongst the Dadas, surrealists etc.—experimentation must move away from the impasse of formal experiments and aim at the transformation of everyday life itself. The situationists initially attempted to experiment with the design and use of cities (under the name of ‘unitary urbanism’—see here, and here). Ultimately, they moved beyond this and took aim at the organisation of capitalism itself, helping to usher in the last great revolutionary experiments of the 1970s amidst the festive occupations movement in France in May 1968.

In 1957 when the situationists kicked off their experiments in living and ‘unitary urbanism’ they saw themselves as starting from the bases the surrealists had already staked out in 1924. Today we need to start again from the bases that the situationists established in 1968; and the surrealists in 1924; and the Dadas in 1916; and etc. However, such bases are merely points of departure not closed projects to be emulated repetitively or ironically. In today’s world in which the look of surrealism has triumphed throughout popular culture, the original surrealists desire for a new way of living beyond the mundanity and horrors of capitalism seems more pertinent. As the situationists argued against their surrealist forebears, what is implicit is in need of being made explicit. It is not enough to limit our experiments to art alone. To the extent that our appropriations remain purely artistic—as poems, paintings, and even more process based conceptual works—is the extent to which we will be defeated and recuperated. The surrealists never tired of explaining: there is no poetry for the enemies of poetry. And poetry for the surrealists, beyond their paintings and poems, was synonymous with the playful creation and recreation of life itself. 

In order to make poetry dangerous again we must turn our experiments once more to the vast canvas of everyday life.

Anthony Hayes
Canberra, January 2016

Hateful anti-christams

fig. 1. Raoul Hausmann, Kurt Schwitters, El Lissitzky.

“Language is only a means of understanding and of not understanding”

Back in May 2016 I translated ‘Pin’, a collaborative Dada-Merz poem by Raoul Hausmann and Kurt Schwitters first published in 1962. The poem, however, is dated 1946. PIN was a projected magazine that Raoul Hausmann and Kurt Schwitters worked on before the latter’s death in 1948. I translated the poem almost certainly because May 2016 was around the 100th anniversary of Dada. 11 years before 1957 the poem can be considered a bridge between the respective practices of Dada and Merz, and the soon to be instituted experimental practice of the situationist international. An anticipative plagiarism:

“You prefer to use language in order to understand platitudes that everyone already knowns by heart. We prefer language that will procure for you a new feeling for these new times”.

CHRISTAMS time has come. Consider this a follow up to ye olde taile of Santa Rosso. (Who is Santa Rosso? Check back here on the dark one’s birthday.) Consider this me hateful anti-christams card as anticipative Doctor Shamass.

All italics and spelling errors are intentional.  


A fancy

A fanfan thing

Seize the right thing

The world has need of new tendencies in poeting and paintry

The old junk can no longer fool us

The Muses must fanfanter if humanity wants to survive

The cocky sprits fell pretty low during the war

We want farfader sprit, because we see with our ears and hear with our eyes

Our drsls and rlquars ghosts are full of fatatras.  They surpass “modern poetry” with their new taste

Their content is so very direct that they place themselves above language entirely

Language is only a means of understanding and of not understanding

You prefer to use language in order to understand platitudes that everyone already knowns by heart. We prefer language that will procure for you a new feeling for these new times

Leave behind your controlled feelings and look, if you please, over here at our fanfan and you will see that it is worth it


The right fanfare to know

Raoul Hausmann and Kurt Schwitters, 1946


PIN was a project that Raoul Hausmann and Kurt Schwitters worked on before the latter’s death in 1948. “Fanfan La Tulipe” is a French “larrikin” character. According to the Vincent Perez Archives, he is the personification of the French hero, a chronic jokester, ladies man and free spirit who refuses to surrender to a forced marriage and instead finds himself persuaded to enlist in Louis XV’s regiment of Aquitaine by the enchanting Adeline. The character of Fanfan La Tulipe has evolved through the times into playing a central role in the French national identity, originating from the tale of a French soldier who triumphed against the British in 1745, and later evolving into a character in numerous songs and plays who made fun of his superiors and somehow always got away with it through his wit and a quick draw.


fig. 1. Illustration by Leo Dillon and Diane Dillon. Taken from the original publication of Faith of Our Fathers in Dangerous Visions (1967). For more on Mao, see the situationist image and text, below.

Some thoughts on Philip K. Dick’s Faith of Our Fathers

Over the years I’ve found myself returning to a Philip K Dick short story called Faith of Our Fathers.  Or, to be more exact, I am haunted by the central conceit of this story. The idea at its heart resonates long after the details of the story begin to fade.

First published in 1967, in Harlan Ellison’s Dangerous Visions anthology, Dick imagines a future in which the Cold War has been won by the East. The protagonist is a minor bureaucrat in Vietnam. Though “protagonist” doesn’t get to the heart of Dick’s main characters, who are often thinly veiled versions of himself inextricably enmeshed and propelled by the situations they find themselves in, rather than being actors and shapers of plot and destiny. Anti-protagonists perhaps.

Of course, as so often happens in Dick’s fictional worlds, not all is as it seems. However, in Faith of Our Fathers, Dick elaborates a subtle transformation upon his familiar theme of the false and the true. As the protagonist at first suspects and soon discovers, the apparent world is not the real one. But rather than finding a single hidden truth, the protagonist discovers that the truth is multiple, ‘a variety of authentic experiences’ hidden by a single, consensual hallucination.

Here Dick is playing with the intuitive sense that reality is singular, unitary and most importantly objective—in the sense that there is only one reality, no matter how big or potentially infinite it is, and that its being is independent of a particular subjective experience of it. The concomitant of such objectivity in this case, is the idea that a false reality would almost certainly be the result of a subjective experience, whether through a defect in an individual’s perceptual capacities (e.g. as the result of a psychosomatic impairment like schizophrenia) or through the “external” alteration of perception (e.g. as the result of mind altering substances).

Dick upends this common sense in Faith of Our Fathers, insofar as he presents the false reality as singular, and in a way objective, whereas the true reality is multiple and subjective—though not exactly in the latter case. In later comments upon this work, Dick seemed more concerned with resolving his story’s conceit to the question of different subjective experiences of the one true divine reality.[1] Here, unfortunately, Dick offers a less interesting insight into his story, than the story alone. We do well to remember a comment of Marx’s: that we should not judge an individual merely by what they think about themselves, but rather by way of an examination of the conflictual social and material relations in which they find themselves.[2]

Indeed, it is the central conceit of Faith of Our Fathers and not Dick himself that speaks to us today (see some earlier comments of mine, here, on why I think we can use an author’s works for other purposes, even one’s at odds with the author’s intentions). Global capitalist society is the consensual hallucination that we have been submitted too, bolstered by the soporific ubiquity of money, wage labour, and the commodification of the entirety of our desires, no matter how mundane or extraordinary. Indeed, the singular achievement of pro-capitalists has been to cajole enough people into believing that there is no alternative to the rule of the market, and even more incredibly that its reign is in effect the most rational and even most natural form of human organisation. That the contemporary global market is a type of shared delusion, a hallucination in which we poor saps are drugged in a haze of commodity choices and the struggle to simply survive by means of—or in the absence of—waged labour, has become increasingly stark.

Living as we do in a world in which the West “won” the Cold War, what is perhaps most illuminating for us is the sense that such a victory resolved none of the underlying issues of the Cold War—in particularly, the purported success of the capitalist model. Indeed, this is far more obvious almost 30 years after the collapse of the Soviet Union than it was in the first few years of the 1990s. In this sense, the sheer mundanity of Dick’s imagined Eastern Bloc victory aptly describes both the banal triumphalism of the US in the wake of 1991, and the mundane horrors of globalisation and accelerating climate change that we have enjoyed as a consequence.

To be clear: in no way am I advocating for the so-called “communism” of the Eastern Bloc that Dick himself found repellent. Undoubtedly, the people of the old Soviet Union suffered under a hallucinatory nightmare version of “communism” that was cynically used by Stalin and his successors to mollify the truth of the continued existence of all the old garbage of class society. If we dig down into the reality of life in the Soviet Union, what is clear is that the working classes had little or no control over the state or the economy, a state of affairs conspicuously reminiscent of the “free” West.[3] Indeed, the symmetry of the contending sides of the Cold War was a common trope in some of Dick’s greatest works of the 1950s and 60s. Dick’s novel The Penultimate Truth (1964) is perhaps the best exploration of this theme. Also check out the brilliant short story Foster, You’re Dead! (1955) regarding one of the more egregious stupidities of the Cold War in the US.[4]

To be honest, it’s been some time since I last read Faith of Our Fathers. The detail fades, the central conceit is crystal clear. Time for a reread.

fig. 2. Image and text taken from the article ‘Le point d’explosion de l’idéologie en Chine’ in Internationale Situationniste no. 11, October 1967. Translation of the article available here. Translation by me of the text accompanying the illustration, below.


This Chinese mass, arranged in such a way that in itself it composes a screen portrait of Mao, can be considered as a limit case of the concentrated spectacle of state power (see Internationale Situationniste no. 10, pages 44 and 45), of which “in the under-developed zone… all that is [considered] admirable is gathered together in ideology and—at the extreme—in a single man… to be applauded and consumed passively.” Here the fusion of the spectator and the image of contemplation seem to have attained a police-like perfection. Sometime later, by believing it useful to go even further beyond this degree of concentration, the Chinese bureaucracy was able to leap over the machine.


[1] Additionally, Dick was keen to distance himself from those commentaries that tried to assert that he was advocating for the Eastern Bloc’s victory in the Cold War. See the Notes to both versions of Dick’s Collected Short Stories. Here, I’m referring to Volume 5 of the Subterranean Press 2014 edition of The Collected Stories of Philip K. Dick, ‘We Can Remember It For You Wholesale’, pp. 472-73.

[2] See, Karl Marx, Preface to A Contribution to the Critique of Political Economy (1859).

[3] Note I am not advocating for a working-class state. However, the far more interesting and tricky question of the self-abolition of the working class, and the destruction of the capitalist state and economy in the red heat of communism is for another time.

[4] In this regard, also see the Situationist International, Geopolitics of Hibernation (1962).

What is the sinister science?

fig. 1. Who is the sinister scientist? Collage by antyphayes.


What is the sinister science? For a start, it’s this blog. But could it be something else?


I have another blog called Notes from the sinister quarter. Originally, I set it up to be the platform for my PhD research—primarily on aspects of the life of the Situationist International (1957-1972). I took its name from Ivan Chtcheglov’s proto-situationist text, Formulary for a New Urbanism (1953).

In his article, Chtcheglov envisaged a city given over to the playful desire for the total creation of life. The city was presented as a possible realisation of Guy Debord’s idea of the ‘constructed situation’. The emphasis was on play and the ‘total creation’ of life in opposition to the chaotic, exploitative, and oppressive reality of the capitalist city.[1]  

In clear opposition to the so-called functional capitalist city divided into commercial, residential, industrial and governmental districts, Chtcheglov proposed that his city of play and desire would ‘correspond to the whole spectrum of diverse feelings that one encounters by chance in everyday life.’ [2] Thus, he imagined various districts—quartiers in the French—whose names indicated something that transcended the merely descriptive or habitual. But of all his proposed quarters one in particular stood out. 

The Sinister Quarter […] would replace all the dumps, dives and other gateways to the underworld that many peoples once possessed in their capitals: they symbolized all the evil forces of life. The Sinister Quarter would have no need to harbor real dangers, such as traps, dungeons or mines. It would be difficult to get into, with a hideous decor (piercing whistles, alarm bells, sirens wailing intermittently, grotesque sculptures, power-driven mobiles, called Auto-Mobiles), and as poorly lit at night as it was blindingly lit during the day by the excessive use of reflective phenomena. At its centre, the “Square of the Appalling Mobile.” And just as the saturation of the market with a product causes the product’s market value to fall, children and adults alike would learn not to fear the anguishing occasions of life as they explored the Sinister Quarter, but rather be amused by them.[3]

Of course, Chtcheglov, Debord and other young ‘International Letterists’ imagined their city of creative desire amidst their play within and without the dumps and dives of Paris—a living sketch of the projected sinister quarter and situationist city. Indeed, Chtcheglov’s Formulary… would prove crucial to the early years of the Situationist International, particularly of what would become known as ‘unitary urbanism’. By proposing the use of literary and other artistic works as ‘blueprints’ liberated from the mausoleum of culture to aid in the construction of future situations, Chtcheglov anticipated the later theory of détournement. Against much of the contemporaneous Marxist and Anarchist orthodoxy, Guy Debord would later make explicit what was implied by Chtcheglov’s vision: in order to be practical, any methodological critique of capitalist urbanism must encompass an argument for what comes after. Or even more succinctly: the critical means must encompass the end aimed for:

[T]he practice of utopia only makes sense if it is closely linked to the practice of revolutionary struggle. The latter, in its turn, cannot do without such a utopia without being condemned to sterility.[4]


There is an article by André Breton that reminds me of Chtcheglov’s Formulary…—a precursor if you will. Breton’s article, translated as ‘Once Upon A Time’, was first published in the surrealist journal Le Surréalisme au service de la Révolution, no. 1 (1930). In the article, Breton imagined establishing a house and grounds on the outskirts of Paris dedicated to placing its temporary denizens into a ‘position which seems to be as poetically receptive as possible’.[5]

What Chtcheglov did for the imaginary city, Breton attempted on the scale of a single building and its immediate surrounds. In Breton’s case a certain sinister quality pervades the entirety of his project:

Nothing grand. Just around thirty rooms with, as far as possible, long corridors that would be very dark or that I would myself make dark. […]

For each bedroom, a large clock made of black glass will be set to chime especially well at midnight. […]

There will be hardly anything but small study lamps with green lampshades that will be dimmed very low. The blinds will remain lowered day and night.

Only the white-washed reception hall will be lit with an invisible ceiling light and it will contain no other furniture, besides two authentic Merovingian chairs, and a stool on which will sit the perfume bottle tied up with a pale ribbon, inside which a discoloured rose will be immersed with its stems and leaves equally lifeless […].[6]

The décor is distinctly—and inevitably—dream-like, pervaded with the spectral gloom one would expect of such nocturnal visions. Breton perversely equips his playground with a single law, redolent of his own grip upon the reigns of surrealist (anti) power: a firm injunction against sex, ‘strictly forbidden, under penalty of immediate and definitive expulsion’ from the building and its grounds.[7] One wonders how such a directive would have been enforced in a zone otherwise given over to chance and play.

There are other details: rooms almost impossible to gain entry to—possibly the one most in keeping with Chtcheglov’s difficult to access quarter. What I find most fascinating, and commensurate with the Formulary…, is Breton’s idea of a distinctly anti-capitalist architecture as re-enchantment, as the recovery and practical elaboration of those fantastical stories we were told as children—stories whose main failing is precisely their role as forms of inoculation, subservient to the rapidly approaching adult world of wage labour and other alienations.

As Breton may have remarked, somewhere, anywhere: the sinister is what tends to become real.


So, having got this far you might be wondering: is there a sinister science?

Without doubt, the sinister science blog draws inspiration from Chtcheglov’s imaginary city and Breton’s dream house. To that extent, I am more than happy to declare the surrealist and situationist lineage of this project. However, “the sinister science” is, for me, no mere bon mot or frivolous affectation—even if it is also this. I also sincerely believe in a sinister science, one that bears comparison to a more general sense of science—what is called Wissenschaft in German—rather than the modern restricted sense of what was once called the natural sciences.

If there is a single principle of the sinister science, it is error. The anti-royal road to truth is littered with our blunders and mistakes. In part, this is Hegel’s argument: the false is a moment of the true. But he continues: no longer as the false.[8] Hegel’s truth is not founded upon the principle of bivalence and “falsifiability”. Rather, error is resolved as a moment of the process of truth (and so, per the comments above, not false at all). Without digressing into an examination of Hegel’s truth versus conceptions of the truth value of propositions, for now it is enough to hold onto the following: Hegel is more concerned with truth as a process and the role of error in this process. Error, in Hegel’s sense, is only false to the extent that it is considered in abstraction from such sensuous processes, and so posed in a less than splendid isolation from the entire truth of the matter. Indeed, in The Phenomenology of Spirit, Hegel draws attention to the crucial role that error has in the movement of truth, insofar as error and contradiction are generative of the processes which resolves them. Unlike the analytic sense of truth, Hegel’s truth is not a question of the truth value of a particular proposition considered in isolation. Truth, by his reckoning, is not so much arrived at as it is the form and content of the entire process.

However, Hegel’s conception of error and truth should not be confused with more recent conceptions of the relativism of truth derived from Friedrich Nietzsche. Nietzsche infamously argued that truth is merely the history of an error.[9] In contrast to Hegel, Nietzsche was not interested in the relationship between truth and error, but rather keen to demonstrate that all purported truths are merely so many fictions. All that make them true, by his reckoning, is the extent to which they embody a will to power that triumphs in the face of other, competing ‘truths’. More recently this has been recast by Michel Foucault as the theory of discursive power. As has been often pointed out, the chief problem with such claims is that they tend to be self-undermining. By presenting truth as the function of a successful will to power, such theories undermine their own implicit claim to being true.

Crucial to Nietzsche’s conception of the necessarily fictitious nature of ideas about reality is the belief in the utter irreconcilable difference of thought and being. In his reckoning, it is this difference that is at the root of the fictitious claims about being that have been fashioned by humans. However, in making this claim Nietzsche follows his master, Schopenhauer, albeit with the more transcendental aspects of the latter’s Kantian philosophy hacked off. Nonetheless, and despite his apparent loathing of the thinker of Königsberg, Nietzsche maintains the unfortunate dualism of Kant’s schema, insofar as thought and thinking are cast as irreducibly other to what is not thought. Thereby, even though Nietzsche and his followers claim the mantle of radical materialists, they in effect maintain precisely the spectral Platonism that they so loudly protest. Except, in their case, the dualism they eschew is hidden behind the assertion of a flat ontology of immanence.

fig. 2. “We know only a single science, the sinister science.” Still from the film Them! (1954).

To be absolutely clear, the sinister science is incompatible with Foucauldian and Nietzschean notions of error. As I hope I have made clear, the sinister science is closer to Hegel’s negative dialectic and Marx’s redeployment of this under the aegis of his ‘materialist conception of history’. Indeed, that this science is implicated in not only the criticism of all that is, but equally its transformation, is precisely what makes it sinister. And with due alteration, I can induce Hegel to remark that history is the sinister bench upon which the cosmos itself will be dissected and rearranged. Or, as Marx and Engels purportedly wrote, shortly before crossing out their fruitful error:

We know only a single science, the sinister science.


[1] Ivan Chtcheglov, Formulary for a New Urbanism, 1953.

[2] Ibid.

[3] Ibid. Translation modified.

[4] Daniel Blanchard & Guy Debord. Preliminaries Toward Defining a Unitary Revolutionary Program, 1960. Translation modified.

[5] André Breton, ‘Once Upon A Time’, from The Dedalus Book of Surrealism 2, translated by Michael Richardson, Langford Lodge: 1994, p. 5.

[6] Ibid., pp. 2, 3-4.

[7] Ibid., p. 3.

[8] See, Hegel, The Phenomenology of the Spirit, Preface, thesis 39 (T. Pinkard translation).

[9] See, Nietzsche, Twilight of the Idols.

SF in the SI: science fiction, ideology and recuperation

fig. 1. “Apart from us, have any piloted ships come here?” “No one has ever come. We are extremely far from other routes. That’s why I want to keep it secret. Even my men are ignorant of the coordinates of our position.” Comic détournement in Internationale situationniste, no. 7, p. 46. Source: not known.

SF in the SI: science fiction, ideology and recuperation

About 3,500 words

1. Introduction

It is almost impossible to speak of ‘science fiction’ in relationship to the Situationist International without also speaking of what they meant by ‘utopia’. However, I plan on doing just this—at least to begin with. In this post I will briefly look at the role of science fiction (SF) in the Situationist International (SI). In a future post I will expand on this by looking at the role the terms ‘utopia’ and ‘utopian’ played in the SI (though I will touch on the question of utopia, below).

2. Science fiction as ideology

Science fiction motifs appeared in the publications of the Situationist International (SI) from the outset. Most obviously it can be found in the images that surfaced in the many and varied détournements of science fiction comics in their journal. Perhaps not so obvious are the science fictional qualities of central concepts and practices, such as ‘psychogeography’, the ‘hypothesis of the constructed situation’ and ‘unitary urbanism’.

In the early days, situationists were not completely averse to describing aspects of their critique and program as science fiction. Later, in 1961, the year that the pivot away from the more artistic phase of the early SI began, the editors of Internationale Situationniste spoke of ‘a hostility to all religions, even science fiction’.[1] The implication being, not just that science fiction constituted a religion, but perhaps even worse: that such a religion could only play an ideological role in contemporary capitalism.

By 1961, the circle around the situationists Guy Debord and Raoul Vaneigem began to understand ideology in a similar sense to that outlined by Marx in The German Ideology and the Theses on Feuerbach (in the latter work, the critique of ideology, though implicit, is never called such). This was in stark contrast to then present-day Marxist orthodoxy, who largely followed Lenin’s conception of ideology rather than Marx’s. Indeed, Lenin’s conception bore more of a likeness to that of the originator of the term, Antoine Destutt de Tracy, than Marx’s critical appropriation of it. Against this vulgar sense, Marx drew upon Ludwig Feuerbach’s criticism of religion, and Max Stirner’s criticism of Feuerbach, in formulating his critical concept of ideology. For Marx, religions—at least Judeo-Christian religions—were ideological to the extent that they posed their ruling ideas separate from, or even opposed to the social and material practices in which they were embedded. The classic example is the divine ‘holy family’, which is in effect a projection of the earthly family into an otherworldly beyond. The key here is the idea of separating and opposing ideas to material reality—as if such ‘ideas’ constitute a realm or substance apart from material reality. Certainly, such substance dualism (of ideas & matter) is central to most religious thought. However, such an inverted conception is more subtle in ideology less obviously religious. If we take the example of science fiction, we can see a similar inversion when authors unquestioningly pose present-day bourgeois society as a timeless model of human mores and practice. Indeed, as Marx pointed out in Capital and elsewhere, a similar projection—albeit backwards in time—was made by classical political economists like Adam Smith, when they assumed that human nature from time immemorial was in essence bourgeois.

Science fiction is ideology, then, to the extent that it transforms the capitalist present into a timeless form of human social organisation by way of projecting such a present either deliberately or unwittingly into an imagined future. In doing so, such SF neither questions the necessity of the present, nor suggests that tomorrow could be different—or even better—than today.

3. Science fiction in the situationist international

In the second issue of their journal, Internationale Situationniste, December 1958, Abdelhafid Khatib noted that his fellow situationist Asger Jorn defined ‘psychogeography […] as the science fiction of urbanism’.[2] By saying so, Jorn—by way of Khatib—was drawing attention to the transformative and future oriented aspects of ‘psychogeography’, insofar as the situationist proposed the radical transformation of not just the technologies of the city, but even more so the behaviour and morality of its denizens.

In the first issue of the journal Internationale Situationniste, psychogeography was defined as ‘the study of the specific effects of the geographical environment (whether consciously organized or not) on the emotions and behaviour of individuals’.[3] The situationists had inherited the psychogeographical project from the Letterist International (LI), of which some founding situationists had been members of—notably Guy Debord and Michèle Bernstein.[4] Psychogeographical study had arisen directly as a result of the urban drifts (fr: dérives) that the International Letterists had begun to carry out around the year 1953.

By the time of the founding of the SI in 1957, psychogeographical research had come to be seen as the general rubric under which a distinctly situationist project was to be conducted. What is key to recall at this point is that both psychogeographical research, and the urban drifts from which such a study was derived, proposed to chart new behaviours and emotions in opposition to those that were permitted, and, indeed, constructed by the bourgeois city.[5] That the projected results of psychogeographical research was the complete transformation of the urban environment, as well as human behaviour, was made more clear in Guy Debord’s Report on the Construction of Situations presented at the founding conference of the SI in July 1957.[6] Jorn’s claim that psychogeography should be conceived as the science fiction of urbanism can thereby be read as a positive statement about the future of the city under the guise of a situationist transformation.

Unfortunately, this is the only citation in a situationist publication of Jorn speaking positively about science fiction, and I have been unable to find the source of Khatib’s quote. Nonetheless, it seems that Jorn was perhaps the most favourably disposed of the situationists toward science fiction. Among his œuvre are several science fiction themed paintings. I will return to the question of Jorn and science fiction in a later post.

fig. 2. Asger Jorn, Femelle interplanétaire (Interplanetary female), 1953.

Apart from Jorn’s positive disposition to SF, and the many and varied uses of détourned[7] SF comics in the situationist journal, the term ‘science fiction’ was used more often than not in a pejorative sense. Two instance that come to mind: when the SI dismissively referred to ‘the science fiction of revolutionary thought that is preached in [the journal] Arguments’;[8] and their updating of Rosa Luxembourg’s pithy maxim ‘socialism or barbarism’ as ‘the urgent alternative: revolutionary solution or science-fiction barbarism’.[9] In the former case, SF is used in a manner akin to orthodox Marxists deriding the ‘utopian’ nature of their opponents on the left (more on this below, and in a future post). In the latter case, Debord and his co-author were gesturing at the lived reality of contemporary global society in the sense that the apocalyptic and post-apocalyptic ‘science fiction barbarism’ beloved of the pulps had become the grim reality of a world on the brink of nuclear destruction.

Perhaps the clearest attack on science fiction itself—considered as a cultural genre—was made by Guy Debord in 1961. In an address delivered to Henri Lefebvre’s Research Group on Everyday Life, Debord contrasted the situationist conception of the transformation of everyday life with that ‘presented in science fiction, in which interstellar adventures coexist with a terrestrial everyday life kept in the same old material poverty and archaic morality’.[10] A similar argument was made by Debord’s comrade Raoul Vaneigem almost two years later, this time aimed at Planète magazine, one of the chief platforms for a self-consciously futurist if nebulous science ‘fact’ and fiction in the France of the 1960s:

Playing on the truism that science and technology are advancing faster and faster without anyone knowing where they are going, [the editors of the journal] Planète harangue ordinary people with the message that henceforth everything must be changed—while at the same time taking for granted 99% of the life really lived in our era.[11]

Debord’s and Vaneigem’s target was not so much science fiction tout court as it was that dominant tendency which conceived of future changes and transformations primarily in technological terms. According to the SI, and despite Planète magazine’s self-consciously ‘modernist’ and radical self-presentation, its conceptualisation of the future was as religious as the capitalist ideology it unthinkingly projected into an imagined future.

The SI’s criticism of SF that projected the present into the future was hardly new. Indeed, it was almost identical to a similar charge made by the French author Michel Butor in 1953.[12] What was new was the SI’s attempt to understand this through the optic of Marx’s concept of ideology, as well as the SI’s own conception of recuperation—which drew upon Marx’s critique. I will return to the question of the situationist conception of ‘recuperation’, below.

I have spoken elsewhere about the problem of science fiction simply translating the capitalist present into a far future setting—consider parts of my discussion of the Soviet era science fiction novel Andromeda Nebula by Ivan Yefremov. Additionally, in my last blog post I touched on the idea that H. G. Wells was both pioneer and exemplar of the modern science fiction author as purveyor of dystopia.  This later question, of dystopia as reaction to the often naive, invariably socialist utopias of the nineteenth century, is perhaps as old as Dostoyevsky’s contempt for one of Vladimir Lenin’s favourite authors: Nikolai Chernyshevsky. To my mind, science fiction—and speculative fiction more generally—is overburdened by its creation amidst Wells’ social Darwinian reaction and ‘improvement’ upon the nineteenth century utopia. The ascendency of this science fiction was coincident with and provided cover for the real ‘utopian’ victory: that of capitalism in the post-war 1950s and 60s. Worse, the non-places of capitalism exploded after the 1960s: so many genres and subcultures spun from the counter-cultures of the 1960s and 70s. Science fiction, that genre with a history of about a century, one of many present-day utopias that can be any place thanks to the commodity-spectacle, is a place of struggle nonetheless, simply because it is one of the many phenomena of the social antagonism inherent in capitalism. Thus, as the situationists almost put it, we still have a single choice: science fiction socialism or barbarism.

I will now turn to an examination of this tendency by way of a brief examination of the concept and practice of ‘unitary urbanism’ in the SI

4. The science fiction of unitary urbanism

In the first three years of the SI’s existence—1957-1960—‘unitary urbanism’ developed into one of the chief practices of the group under the general project of psychogeographical research. As a result of the urban drifts (dérives) and psychogeographical study pioneered by the Letterist International, Debord came to pose the possibility of ‘the concrete construction of momentary ambiences of life and their transformation into a superior passional quality’.[13] He called this the ‘hypothesis of the construction of situations’, in which the ephemeral, ‘momentary’ situations of life—in contrast to the chaotic and hierarchically planned boredom of alienated life—would be consciously constructed by situationists.[14] Indeed, Debord posed this hypothesis as the ‘central idea’ of the SI, and the most obvious general result of previous psychogeographical research. Further, insofar as the constructed situation implied a critique of the boredom and alienation of the capitalist life, whether as work or commodified leisure, the realisation of the hypothesis was envisaged as contingent upon the overthrow of the capitalist as much as the ‘really existing socialist’ societies of 1957. Nonetheless, and despite locating the ultimate success of this hypothesis in a post-capitalist future, Debord also proposed a theory of ‘unitary urbanism’ in order to experiment with the possibilities for constructing situations in the urban present. To an extent, the urban drifts (dérives) of the former Letterist International were reconceived as an element of unitary urbanism.  Additionally, the theory itself was developed in the pages of the journal Internationale Situationniste. And perhaps the most interesting, definitely the most iconic expression of this development was that of the ‘New Babylon’ models, plans and descriptions organised and executed by the Dutch situationist, Constant Nieuwenhuys (aka ‘Constant’).

fig. 3. The situationist pentagon. Detail from situationist poster, ‘Nouveau théatre d’opérations dans la culture’ (1958). From top to bottom, left to right: construction of situations; unitary urbanism; experimental behaviour; urban drift; psychogeography; situationist architecture; permanent play; détournement of preexisting aesthetic elements.

It is easy to mount a case for the science fictional qualities of Constant’s ‘New Babylon’.[15] Constant imagined a future city suspended over the present in a dream-like scaffold of levels and labyrinths that was dedicated entirely to the Situationist conception of play:

We demand adventure. Not finding it on earth, some want to seek it on the moon. We, however, are committed to changing life here on earth. We intend to create situations, new situations, breaking the laws that prevent the development of meaningful ventures in life and culture. We are at the dawn of a new era, and we are already attempting to sketch out the image of a happier life, of a unitary urbanism—an urbanism designed for pleasure.

[…] The future cities we envisage will offer a wholly new variability of sensations in this realm, and unforeseen games will become possible through the inventive use of material conditions, such as modifications of air, sound and light. City planners are already studying the possibility of harmonizing the cacophony that reigns in present-day cities. This problem will soon give rise to a new field of creation, as will many other such problems that will present themselves. Space travel, which seems likely in the near future, might also influence this development, since establishing bases on other planets will immediately raise the problem of sheltered cities, which may provide models for our study of future urbanism.

[…] The city of the future must be conceived as a continuous construction on pillars, or as an extended system of different structures from which are suspended premises for housing, recreation, production, distribution, etc., leaving the ground level free for traffic circulation and public meetings. The use of ultralightweight and insulating materials that are currently being tested will permit light construction with supports spaced well apart. In this way it will be possible to create a multilayered city: underground, ground level, upper stories and terraces, with areas ranging from that of a present-day neighbourhood to that of a metropolis. It should be noted that in such a city the built-up surface will be 100% and the free surface 200% (ground level plus terraces), whereas in traditional cities the figures are approximately 80% and 20%, and even a garden city can at most reverse this latter proportion. The terraces, forming an outdoor terrain that extends over the whole surface of the city, can be used as sports fields, as landing pads for airplanes and helicopters, and for vegetation. They will be accessible everywhere by stairways and elevators. The different floors will be divided into adjoining, communicating and climate-controlled spaces, making it possible to create an infinite variety of ambiences and facilitating the wanderings of the inhabitants and their frequent chance encounters. The ambiences will be regularly and consciously changed, using all technical means, by teams of specialized creators, who will thus be professional situationists.[16]

fig. 4. Technical services and airport. Photo partially reproduced in Internationale situationniste, no. 4, p. 24, under that title. Detail of the Yellow Sector [La zone jaune], from Constant’s New Babylon model.

Constant’s New Babylon is rich in suggestion. Its strikingly futuristic structures were posed as practical solutions, based on current architectural and technical practices, to the chaotic and confused urban expansion and development of the industrial and industrialising world of the 1950s and 60s. However, less emphasised here in Constant’s account was what he called the ‘psychological influence’ of ‘creating ambiances’, i.e. in the experimental elaboration of unitary urbanism. Indeed, Constant’s New Babylon tended to primarily accentuate the technical side at the expense of the behavioural side—of which an intimate interrelation had figured prominently in the elaboration of psychogeographical research from the earliest days of the urban drifts (dérives). As would be later said of him by the SI, after Constant had resigned from the group in June 1960, ‘other situationists had to remind him that at the present stage of the project it was necessary to put the accent on its content (play, free creation of everyday life)’.[17] Such a conclusion, however, was the result of a longer argument between, primarily, Constant, on the one hand, and Debord and Asger Jorn, on the other.

The argument between Debord, Jorn and Constant remained live during the life of the SI in the sense that its conclusions contra Constant’s conception of unitary urbanism became situationist doxa. Unitary urbanism was a theory governing the experimental practice and attempts at verification of the situationist hypothesis of the constructed situation. To reduce it merely to a design problem was to misunderstand both its theoretical nature and its existence as the practical expression of psychogeographical research in the broad sense of the latter—i.e. as a question of the transformation of human nature and society as much the technologies of these transformations. Some years after Constant’s resignation—and more hostilely—the SI would write:

There is, however, a diversion that has threatened us more gravely than all the others: the risk of not differentiating ourselves clearly enough from some modern tendencies, and their explanations and proposals regarding the new society to which capitalism has brought us — tendencies which, behind different masks, all lead to integration into this society. Since Constant’s interpretation of unitary urbanism this tendency has been expressed within the SI, and it is incomparably more dangerous than the old artistic conception we have fought so much. It is more modern and thus less obvious—and certainly with a more promising future.[18]

Here, the Situationists were gesturing at their concept of ‘recuperation’. By their reckoning, Constant, having left the SI, had become one of the chief exponents of just such a recuperation, insofar as his reductive elaboration of New Babylon as a design problem was compatible with both the artistic and architectural mainstream of capitalist society—of design journals and art exhibitions, for example. Indeed, as the SI witheringly pointed out a year after he resigned, Constant,

now presents models of factories in his catalogue published in March [1961] by the Municipal Museum of Bochum. Apart from plagiarizing two or three poorly understood fragments of situationist ideas, this wily character has nothing better to propose than to act as a public-relations man in integrating the masses into capitalist technological civilization.[19]

5. What is recuperation?

fig. 5. “What is it? [But] we considered every obstacle! Could this be an unknown one?” Comic détournement in Internationale situationniste, no. 6, p. 4. Source: not known.

That revolutionary critique could be recuperated by the capitalist market was not a new phenomenon in 1961—but it was not that old either. As Debord argued in The Society of the Spectacle, it was old as least the German Revolution of 1918.[20] What was new, however, was the situationist theory of recuperation. As Debord so pithily put it in 1963, when speaking on the problem of capitalist power and its language: ‘power lives off stolen goods. It creates nothing; it recuperates’. Mustapha Khayati continued in 1966:

Words forged by revolutionary criticism are like partisans’ weapons: abandoned on the battlefield, they fall into the hands of the counterrevolution. And like prisoners of war, they are subjected to forced labour. […] Ideologues of every variety, the watchdogs of the reigning spectacle, carry out this task, emptying the content from most corrosive concepts and putting them back into circulation in the service of maintaining alienation: dadaism in reverse. They become advertising slogans (see the recent Club Med prospectus[21]). Concepts of radical critique suffer the same fate as the proletariat: they are deprived of their history, cut off from their roots. They become grist for power’s thinking machines.[22]

Culture is never simply a production problem; it is a declaration of intent to the reigning powers and all who labour for them. The SI’s wager was that Constant, first cut-off from a broader conception of unitary urbanism, and then cut off from the self-consciously revolutionary project of the SI, tended to aid in the recuperation of situationist practice.

6. Concluding remarks

The question of the SI’s dispute with Constant is an interesting one, but I fear that the intent of this expanding post is getting lost in the maze of his story. For more detail check out my PhD thesis, here.[23] What I am trying to get at, convoluting though the telling may be, is that those situationists who opposed Constant’s reductive understanding of unitary urbanism and psychogeographical research, even if intrigued and engaged by unitary urbanism as a technological problem, were more concerned with the broader, revolutionary implications of ‘its content (play, [and the] free creation of everyday life)’. In this sense, Constant’s project is, indeed, closer to contemporaneous conceptions of science fiction, and the predominance there of presenting the future in terms of technological change as opposed to social and natural species transformations. What the SI came to call ideology.

To the extent that Constant reduced the elaboration of unitary urbanism to primarily a technical problem, we can consider him a purveyor of science fiction in the sense that Debord and Vaneigem criticised. From around 1961, the SI tended to see such science fictional elaborations of unitary urbanism as a form of activity that tended to be integrated with contemporary capitalist alienation insofar as they were practical separated, or presented in isolation from an explicitly anti-capitalist revolutionary project.  By this reckoning, the post-SI Constant became an exemplar of the ideology of science fiction—ideology here used in Marx’s pejorative sense.

In future posts I want to investigate the ‘practice of utopia’ that the SI opposed to Constant’s and others’ mere science fiction. By invoking ‘utopia’ in a positive way, and associating it with the end to which present revolutionary means should be aimed, the SI attempted to rescue the idea of utopia for a revolutionary imagination overwhelmed by the cult of work, the false pragmatism of political realism, and the totalitarian reality of dystopian, Russian-style ‘communism’. In effect they proposed the détournement of utopian socialism in the interests of present-fay revolutionary practice. And within such a détournement, pulp science fiction had its role to play.



[1] Situationist International. ‘Editorial note’ at the end of Asger Jorn’s article, ‘Pataphysics: A religion in formation’. Translation modified. Original: ‘La pataphysique,  une religion en formation’, Internationale Situationniste, no. 6, Aout 1961, p. 32.

[2] Abdelhafid Khatib, ‘Attempt at a Psychogeographical Description of Les Halles’. Original : ‘Essai de description psychogéographique des Halles’, in Internationale Situationniste, no. 2, décembre 1958, p. 13.

[3] Situationist International, ‘Definitions’. Original: ‘Définitions’, in Internationale Situationniste, no. 1, Juin 1958, p. 13.

[4] See, in particular, Debord’s ‘Introduction to a Critique of Urban Geography’ (1955).

[5] For more on psychogeography and drifts, see Debord, Introduction to a Critique of Urban Geography (1955) and Theory of the Derive (1956).

[6] See, Debord, Report on the Construction of Situations (1957).

[7] ‘détournement: Short for ‘détournement of preexisting aesthetic elements.’ The integration of present or past artistic productions into a superior construction of a milieu. In this sense there can be no situationist painting or music, but only a situationist use of those means. In a more elementary sense, détournement within the old cultural spheres is a method of propaganda, a method which reveals the wearing out and loss of importance of those spheres.’ (Internationale Situationniste, no 1, June 1958).

[8] Situationist International, ‘The Meaning of Decay in Art’. Original: ‘Le sens du dépérissement de l’art’, in Internationale Situationniste, no. 3, Decembre 1959, p. 5.

[9] Debord & Pierre Canjuers (aka Daniel Blanchard), Preliminaries Toward Defining a Unitary Revolutionary Program (1960).

[10] Guy Debord, ‘Perspectives for Conscious Changes in Everyday Life’. Original: ‘Perspectives de modifications conscientes dans la vie quotidienne’, in Internationale situationniste, no. 6, aout 1961, p. 24.

[11] Internationale Situationniste [Raoul Vaneigem], ‘Ideologies, Classes, and the Domination of Nature’. Original : ‘Domination de la nature, idéologies et classes’, Internationale Situationniste, no. 8 (Janvier 1963), p. 7.

[12] Michel Butor, ‘The Crisis in the Growth of Science Fiction’, in Inventory: Essays, ed. Richard Howard, London: Jonathon Cape, 1970. Which is not to say that such critical speculations were absent in the field of science fiction or came from without. Indeed, such speculation was a hot topic among leading examples of contemporaneous Anglo-American SF like Galaxy magazine and even Astounding—though in a more confused and at times reactionary fashion in the latter.

[13] See, Debord, Report on the Construction of Situations (1957).

[14] Or at least their initial conditions of such constructed situations. Don’t forget that Debord’s constructed situation is a critique and inversion, or sorts, of Jean Paul Sartre’s concept of ‘situation’.

[15] Constant’s project was named by Debord. The film ‘The New Babylon’ (Новый Вавилон) was a 1929 silent film written and directed by Grigori Kozintsev and Leonid Trauberg in the USSR. The film deals with the 1871 Paris Commune and the events leading to it and follows the encounter and tragic fate of two lovers separated by the barricades of the Paris Commune. In the film, a vision of commodity consumption is envisaged at the store La nouvelle babylone. Composer Dmitri Shostakovich wrote his first film score for this movie. Footage from the film was later included in Guy Debord’s film version of his book The Society of the Spectacle (book: 1967; film: 1973).

[16] Constant, ‘Another City for Another Life’, translated by Ken Knabb. Original : ‘Une autre ville pour une autre vie’ in Internationale Situationniste no. 3, Décembre 1959, p. 37.

[17] See, ‘Situationist News’ (December 1960). Translation modified. Original: ‘Renseignements situationnistes’, in International Situationniste, no. 5, Decembre 1960, p. 10.

[18] Situationist International, ‘Now, the SI’. Translation modified. Original: ‘‘Maintenant, l’I.S.’ in Internationale Situationniste, no. 9, Aout 1964.

[19] Situationist International, ‘Critique of Urbanism’. Translation modified. Original: ‘Critique de l’urbanisme’, in Internationale Situationniste, no. 6, Aout 1961, p. 6.

[20] Guy Debord. The Society of the Spectacle, thesis 101.

[21] See, ‘The packaging of ‘free-time’’, from Internationale Situationniste, no. 10,  March 1966.

[22] Mustapha Khayati, ‘Captive Words : Preface to a situationist dictionary’. Original: ‘Les mots captifs, préface à un dictionnaire situationniste’, in Internationale Situationniste, no. 10, Mars 1966, p. 54.

[23] Anthony Hayes, How the Situationist International became what it was, Canberra: Australian National University, 2017.

The science fiction spectacle (2)

fig. 1. “What isn’t surpassed rots, what rots incites supersession.” From a situationist ad for Raoul Vaneigem’s Traité de savoir-vivre à l’usage des jeunes générations (1967).

When I first set out to write this blog post I intended to show off some of the science fictional motifs that appeared in the activity of the Situationist International (SI). For instance, the many détournements of science fiction comics that appear over several issues of their journal; and the science fictional qualities of some of their ideas and theories—most obviously ‘psychogeography’ and ‘unitary urbanism’. Broadly, the point was, and is, to demarcate the science fiction of the SI—the science fiction (SF) that appears in their work—from another related project I am also trying to chart: the ‘science fiction spectacle’. However, I am going to set aside looking at the SF of the SI for the time being to briefly return to the question of what exactly is the ‘science fiction spectacle’.


In a previous post, when speaking of the ‘science fiction spectacle’, I was perhaps not as clear as some would have liked (including myself). There, I noted that the SI infamously claimed that their ‘theory is in people like fish are in water’.[1] Rather than being the megalomaniac claim some have accused them of (though the Situationists were not averse to megalomania), the point they were driving at was a simple one. In contrast to the pro-capitalist idea that revolutionary critique and contestation comes from without capitalism (where exactly… Mars…?), the situationists argued that their critique of ‘the society of the spectacle’ was merely one iteration—albeit a particularly coherent one—of a broader critique being generated within the then present capitalist society.

To be sure, the situationists were not simply arguing for the equivalence of these criticisms. Indeed, they were clear: their concept of ‘spectacle’ was presented in order to ‘unify and explain’ the apparent diversity of seeming unconnected phenomena—for instance, the various industrially produced news, propaganda, advertising, mass entertainments and commodities that were increasingly marking the ‘modern’ world of the 1950s and 60s (what some have called the ‘media landscape’ or ‘admass’).[2]

What is the ‘spectacle’? For now, I will note that Debord’s concept of spectacle is an amplification and development of Marx’s concepts of alienation, ideology and the commodity-fetish. What links these latter with the concept of spectacle is that they all pose that aspects of human practice have become objectified or externalised in such a way that they appear to be ‘autonomous’ of these practices. For Marx, the ‘fetishism of commodities’ was an attempt to describe this autonomy, in which the commodities produced by humans appeared to ‘live’ their ‘real’ life as repositories of ‘value’ amidst their circulation, marketing and sale, independent of their conditions of production:

The mysterious character of the commodity-form consists therefore simply in the fact that the commodity reflects the social characteristics of men’s own labour as objective characteristics of the products of labour themselves, as the socio-natural properties of these things. Hence it also reflects the social relation of the producers to the sum total of labour as a social relation between objects, a relation which exists apart from and outside the producers. Through this substitution, the products of labour become commodities, sensuous things which are at the same time suprasensible or social. […] [T]he commodity-form […] [has] absolutely no connection with the physical nature of the commodity and the material relations arising out of this. It is nothing but the definite social relation between men themselves which assumes here, for them, the fantastic form of a relation between things. In order, therefore, to find an analogy we must take flight into the misty realm of religion. There the products of the human brain appear as autonomous figures endowed with a life of their own, which enter into relations both with each other and with the human race. So it is in the world of commodities with the products of men’s hands. I call this the fetishism which attaches itself to the products of labour as soon as they are produced as commodities, and is therefore inseparable from the production of commodities.

For Debord,

The fetishism of the commodity—the domination of society by “sensuous things which are at the same time supersensible”—attains its ultimate fulfillment in the spectacle, where the perceptible world is replaced by a selection of images which exists projected above it, yet which at the same time succeeds in making itself regarded as the perceptible par excellence.

I will return to the question of what exactly is the ‘spectacle’ in more detail in a future post.


By way of what I call the ‘science fiction spectacle’, I propose to illustrate the situationist critique of the ‘spectacle’ with reference to various examples of science fiction that dealt with the same object of criticism (the commodity-spectacle), and at the same time (the 1950s and 60s). I am not arguing that such science fictional ‘criticism’ proposed a theoretical critique of the ‘society of the spectacle’ in the same fashion as the SI, but rather that the criticisms that do appear in the SF of this era can reasonably be used to illustrate and even justify situationist claims.

Apart from a passing familiarity with the situationists, I have a longer interest in science fiction that stretches back through my childhood. More recently I have become fixated on Anglo-American science fiction from the 1940s, 50s and 60s. In particular, it is short SF from this period I am most fascinated with—short stories, novelettes and novellas. In a brutally pragmatic fashion, it is easier to plough through a few hundred short stories than novels. However, there is more to my interest than this. Not unlike Orson Welles, I feel that short form SF is ‘better than the long ones’—and for similar reasons.[5]  The short form is perfect as modern fable, or rather an anti-fable in which contemporary morality is not so much the lesson as the object of criticism.

Elements of what the situationist proposed to cohere under the concept of ‘spectacle’ can be found in Anglo-American science fiction of the post-war period: specifically, between 1945 and 1970. Exemplars of such science fictional criticism can be found in the work of Frederick Pohl (e.g. The Midas Plague, 1954, and The Tunnel Under the World, 1955), and Philip K Dick’s (e.g. The Defenders, 1953, and The Mold of Yancy, 1954). However, the emergence of such ‘sociological science fiction’ was broader than these two better known authors. [6]

The years I propose—1945 to 1970—are not merely accidental. Even though the situationist development of the concept of ‘spectacle’ lay between 1957 and 1967, with the highpoint of its development between 1962 and 1967, Debord and others had been developing their critical practice from at least 1951. That there was ‘something in the air’ between 1945 and 1970 akin to the full-blown situationist critique of the 1960s is something I would like to explore. Additionally, the endpoint of 1970 is similarly non-accidental. The world changed after 1968–at the very least, became more cynical about the dominance of the ‘spectacle’. Debord would note, shortly after 1968, how the ‘negativity’ of the rebellions was already ‘invading’ the commodity-spectacle. As David Pringle and Peter Nicholls have noted, ‘[a]bout the end of the 1970s traditional sf about the media seemed to wither away almost overnight: during the 1980s harsh satires about the world of admen, once almost commonplace, became scarce’. I would hazard to argue that this was a result, a least in part, of two processes: on the one hand, the more general calling into question of what the situationists called the commodity-spectacle in the wake of 1968; and on the other hand, the utter triumph of the self-same commodity-spectacle through the ultimate defeat of the movement of 1968—not to mention the sheer brutal omnipresence of the once ‘new’ world of mass communications by the 1980s.

To be clear, I am not proposing that I am the first to note the critical content of science fiction from this period. Indeed, the literature on the critique of the ‘media landscape’ in science fiction—to name just one of the elements—is well advanced. Rather, I want to examine these stories not only as responses to the developments in capitalist society in the immediate post-war period, but further propose that we can draw upon these stories in the situationist style: détourn them for critical purposes.

Among other things, I will return to the idea of the ‘science fiction spectacle’ in upcoming posts.


[1] Situationist International, ‘The role of the S.I. [1962]‘, trans. by Reuben Keehan. Translation modified.

[2] See, in particular, thesis 6 and 10 of Debord’s The Society of the Spectacle.

[3] Marx, Capital, volume 1, chapter 1, ‘The fetishism of the commodity and its secret’.

[4] The Society of the Spectacle, chapter 2, thesis 36, translation modified.

[5] Orson Welles, ‘Introduction’, in S.F: The Year’s Greatest Science-Fiction and Fantasy, edited by Judith Merril, Dell Publishing: 1956, p. 8.

[6] Elsewhere I have begun to examine Russian science fiction from the same time. And I would hope that this project will lead to an examination of other iterations of SF around the globe of the mid-twentieth century.

A clarification on method

fig. 1. détournement as method; as means and end.

Generally, I do not believe that pulp fiction should be read as a bigoted assertion of power, whatever the trend in today’s academia. So, for instance, James Earl Jones’ performance of the evil Thulsa Doom in Conan the Barbarian (1982), is just a great performance, and rightly read by its mainly working class audience as encouraging the play of the imagination. Keeping this in mind, I am mostly interested in using pulp fiction—détournement as the situationists said—to help make plain the ongoing destructive, cybernetic and technocratic aspects of contemporary capitalism.

Even though semiotic analysis can sometimes prove illuminating, by unearthing the ways in which cultural commodities often reproduce the dominant ideas of the capitalist present, the practice of détournement is more immediately destructive of such oppressive ideas. By proposing the “the reuse of preexisting artistic elements in a new ensemble”, the practice of détournement makes it clear that the interpretation of the world is alone insufficient for changing it.

The science fiction spectacle

fig. 1. ‘The Programmed People’, Ed Emshwiller, Amazing Stories cover, June 1963

It turns out that behind the so-called screen which is supposed to conceal the interior, there is nothing to be seen unless we go behind it ourselves, not only in order that we may see, but also that there may be something behind there that can be seen.”—Hegel, The Phenomenology of Spirit, 1807[1]

The Situationist International (SI) infamously claimed that ‘situationist theory is in people like fish are in water’.[2] In making what some have considered an outrageously egomaniacal claim, the situationists were simply restating an argument that had been around since at least Marx. Considering that the task of proletarian self-emancipation is the project of the proletariat themselves, the understanding of such a modern condition—“proletarian”—is likewise the project of the proletariat themselves and not merely that of intellectual specialists, whether proletarian or bourgeois, revolutionary or academic.[3] As Marx put it some five years before the foundation of the First International, people become conscious of the contradictions of the social production of their existence by way of ‘the legal, political, religious, artistic or philosophic – in short, ideological forms’. Consequently, in any struggle to overcome such contradictions one must ‘fight it out’ amidst such forms.[4] There is a relationship of entailment—an identity in the Hegelian sense—between these ‘forms’ of consciousness and the ‘material’ conditions of capitalist life. Indeed, the ideological forms are so much material of the social relation, whether more or less materialized; more or less ineffable: the dreams and conversations of an epoch.

To the end of illustrating the science fiction spectacle—a subgenre of capitalist ideology and its immanent contradictions—I am going to compare and contrast a text by the Situationist International and an excerpt from a science fiction story by John Jakes. The Ed Emshwiller cover illustration (above), provides a suitable visualisation of the coming ‘programmed people’ become literal punch cards of the computerized masters. Note that all of these pieces were published in 1963.

The SI text muses on the police like nature of academic sociology, and its relationship to the coming science fiction dystopia of computerized ‘modern information technologies’. John Jakes imagines a near future—early 21st century—in which the imperatives of the fashion industry of the early 1960s and the principles of planned obsolescence have been extended to the human personality.[5] Both texts expound, in their own way, upon what the SI derisively calls ‘sociological beauty’: the ‘mystified and mystifying elevation of the partial that hides totalities and their movement’.[6] Missing from both, tellingly given the year of composition, is a critical feminist perspective. Beauty simply is associated with a sort of implicitly timeless “femininity”, which remained, regrettably, unquestioned.

1963 is fairly late in the development of the science fiction spectacle. For instance, other authors were in advance of John Jakes speculations. Just as the Situationists noted that they did not invent the critique of this new commodified society, merely pointed out certain explosive consequences of such criticisms, so too Jakes was already working an exploited seam, a “new” fictional tradition extending back as far as Frederick Pohl and C.M. Kornbluth’s Gravy Planet/The Space Merchants (1952/53) and further. Indeed, so-called ‘sociological science fiction’ can be seen, in part, to be coterminous with the science fiction spectacle.

Over the coming weeks and months, I will offer more thoughts on the science fiction spectacle.

Note that my method of inquiry and criticism is informed by the situationist practice of détournement, as opposed to the more conventional semiotic analysis that dominates much cultural criticism. In this way I am more interested in exploiting the critical insights that often sit uncomfortably alongside confused and bigoted themes in pop culture (for instance, in the story The Sellers of Dreams, which I use, below).

Check out this post of mine for more details.

fig. 2. ‘Sociological beauty’, internationale situationniste, no. 8, January 1963

Sociological beauty

This is an identikit drawing [Fr: portraitrobot] of the “ideal woman”, published in France-soir on 31 August 1962, and based on ten details taken from ten female celebrities considered the most beautiful in the world. This synthetic star furnishes an eloquent example of what can lead to the totalitarian dictatorship of the fragment, opposed here to the dialectical play of the face. This dream face of cybernetics is modeled on modern information technologies, which are truly effective as repression, control, classification and the maintenance of order—for instance, the identikit portrait has proved itself in police research. Obviously, the aims and methods of this information technology are opposed to the existence of knowledge, poetry and our possible appropriation of the world. Sociological beauty is the equivalent of industrial sociology or the sociology of urban life—and for the same reasons: it is a mystified and mystifying elevation of the partial that hides totalities and their movement. Inserted into the society of the spectacle without even wanting to think about it, the precise scientific moralism of sociology also indicates, along with beauty, its use: This new translation of Hic Rhodus hic salta can be read: “Here is beauty, here you consume!”[7]

—Situationist International, January 1963 [8]

The Sellers of Dreams

[pdf of the story in its original published format available here]

[A] crowd of distributors hurrying into the auditorium beneath a banner reading:

Things To Come Incorporated
World Distributors
“Last Year’s Woman Is
This Year’s Consumer”


“Gentlemen,” Krumm said, “first the bad news.”

At the unhappy grumble he held up his hand. “Next year—I promise!—TTIC will absolutely and without qualification be ready to introduce the concept of the obsolescent male personality, exactly as we did in the female market ten years ago. I can only emphasis again the tremendous physical problems confronting us, and point to the lag in male fashion obsolescence that was not finally overcome until the late twentieth century, by the sheer weight of promotion. Men, unlike women, accept new decorative concepts slowly. TTIC has a lucrative share of the semiannual male changeover, but we are years behind the female personality market. Next year we catch up.”

“May we see what you have for the girls, old chap?” someone asked. “Then we’ll decide whether we’re happy.”

“Very well.” Krumm began to read from a promotion script: “This year we steal a leaf from yesterday’s—uh—scented album.” The lights dimmed artfully. Perfume sprayed the chamber from hidden ducts. A stereo orchestra swelled. The curtains parted. […]

A nostalgic solido view of New York when it was once populated by people flashed on the screen. Violins throbbed thrillingly.

“Remember the sweet, charming girl of yesteryear? We capture her for you—warm, uncomplicated, reveling in—uh, let’s see—sunlight and outdoor sports.”

A series of solido slides, illustrating Krumm’s points with shots of nuclear ski lifts or the Seine, merged one into another.

“Gone is the exaggerated IQ of this year, gone the modish clothing. A return to softness. A simple mind, clinging, sweet. The stuff of everyman’s dream. Gentleman, I give you—”

Hidden kettledrums swelled. The name flashed on the screen:


“Dream Desire! New Woman of the 2007-08 market year!”

—John Jakes, June 1963[9]



[1] Thesis 165, Inwood translation (2018).

[2] Internationale situationniste, ‘Du rôle de l’I.S.’, internationale situationniste, no. 7, April 1962.

[3] See, founding document of the International Workingmen’s Association of 1864.

[4] Karl Marx, ‘Preface’, A Contribution to the Critique of Political Economy, 1859.

[5] Much as the fashion industry of the US and other Western nations at that time dreamed of a ‘peacock revolution’ for the male industry, Jakes imagines the world on the verge of another one, though this time in terms of the entire personality as commodity.

[6] Internationale situationniste, ‘Beauté de la sociologie’, internationale situationniste, no. 8, January 1963. Note that an earlier version of this translation is available here.

[7] “Hic Rhodus, hic salta!” is Marx’s détournement—i.e., plagiarism and correction—of Hegel’s “Hic Rhodus, hic saltus”. For “jump” (saltus) Marx substitutes “dance” (salta). See this.

[8] From internationale situationniste no. 8, January 1963, p. 33.

[9] From ‘The Sellers of the Dream’, Galaxy Magazine, June 1963, pp. 161, 162-63.

Hail the sinister science

fig. 1. the mad sinister scientist at play.

the sinister science: it’s alive!

Eight years ago, I split my blogging life in two. One blog, Notes from the Sinister Quarter, for my research into the Situationist International, as well as other related left-communist and post-situationist writings. The other blog, work & days of the antyphayes, for my stuff on science fiction, poetry, “creative” writing, collages, etc.

Since then, I’ve finished my PhD (on the Situationist International, available here) and reached an impasse (or three) with my blogs. Updates are few and far between, and a certain inertia has pervaded my interest and intentions for them.

So, in an effort to start again on a higher level, and so in a relentlessly Hegelian spirit, here’s the sinister science, enthusiasm revived and raring to go. Or so I tell myself.

On, through, by way of the sinister science I’ll tear down the walls between sf and the SI. Literally–“ROAR!“–as I plan on writing on the Situationists and science fiction; figuratively, because this wall does not, in fact, exist at all: everything is afflicted by the sinister science, and the sinister science afflicts all.

And in any case, we’re now prepared for just such a pandemic.

So why is it called the sinister science? Stay tuned.


The photograph above, of the Situationist Giuseppe Pinot-Gallizio, is taken from internationale situationniste, no. 2, December 1958, page 29. It was accompanied with a quote from Bernard Le Bovier de Fontenelle‘s Conversations on the Plurality of Worlds (Entretiens sur la pluralité des mondes, 1686). The quote in question–And the heat to which they are accustomed is so excessive that what we have here in the heart of Africa would be enough to freeze them”is from a section in which the inhabitants of the planet Mercury are discussed. I will return to the eminently science fictional content of Fontenelle and the association of this quote with the Situationist Pinot-Gallizio in a later post.