Surrealpolitik

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There were 5 results from your search for keyword(s): 'Situationism'.

  1. How German Is It is certainly not a terrorist attack. What it does do is present an effective engagement with issues of postmodernism, history, and culture that are implicated in terrorism's impact. As Sadie Plant has argued, the postmodern writings of Baudrillard and Lyotard in particular are 'underwritten by situationist theory and the social and cultural agitations in which it is placed'. Moreover, Baudrillard, Lyotard, and Jameson all invoke terrorism when characterizing dominant tendencies of contemporary culture.

    Source: Terrorism and Modern Literature, p. 233
  2. Dada and surrealism are the two currents which mark the end of modern art. They are contemporaries, though only in a relatively conscious manner, of the last great assault of the revolutionary proletarian movement; and the defeat of this movement, which left them imprisoned in the same artistic field whose decrepitude they had announced, is the basic reason for their immobilization. Dadaism and surrealism are at once historically related and opposed to each other. This opposition, which each of them considered to be its most important and radical contribution, reveals the internal inadequacy of their critique, which each developed one-sidedly. Dadaism wanted to suppress art without realizing it; surrealism wanted to realize art without suppressing it. The critical position later elaborated by the Situationists has shown that the suppression and the realization of art are inseparable aspects of a single supersession of art.

    Source: Society of the Spectacle, p. 191
  3. Perversely, Clair's absurdist condensation of historical causality insists upon the contemporary significance of avant-garde movements. In the case of surrealism, the group's violent rhetorical and poetic practices are no longer relegated to a quaint corner of literary and aesthetic history (as they often are in the U.S.), but are instead implicated in a much greater contemporary crisis in humanism. Indeed, Clair insists upon surrealism's genealogical ties to more recent anti-humanist thinkers, from Lacan and Debord to Deleuze and Baudrillard, who likewise refused to keep their radical ideas out of everyday affairs. This is consistent, Clair reminds us, with the nature of avant-gardism, whose cultural position is based on collapsing the distinction between "art" and "life." This collapse bears ethical as well as aesthetic consequences: what is at stake, for instance, when avant-garde rhetoric is spiked with appeals to violence, as well as with practices that tend toward the dissolution of humanistic ideals? How, and to what extent, do the more incendiary tactics of a movement like surrealism "prepare the mind?" And for what do they prepare it?

    Source: Object Lessons: Surrealist Art, Surrealist Politics, p. 178
  4. The power of the imagery brought to life by misfortune and its healing in the sickness of Rosario and José Garcia is a power that springs into being where the life story is fitted as allegory to myths of conquest, savagery, and redemption. It should be clear by now that the magic and religious faith involved in this are neither mystical nor pragmatic, and certainly not blind adherence to blinding doctrine. Instead, they constitute an imagery epistemology splicing certainty with doubt, and despair with hope, in which dreaming -- in this case of poor country people -- reworks the significance of imagery that ruling-class institutions such as the Church have appropriated for the task of colonizing utopian fantasies.

    In objectifying this reality as lo real maravilloso or realismo mágico, modern Latin American literature builds a (one-way) bridge with oral literature, yet still, so it seems to me, finds it hard to evade the heavy-handedness that Alejo Carpentier reacted against in Parisian surrealism -- the effort to create magic where only a metaphorized form could exist. Surrealism froze time and denarrativized the predictable compositions of bourgeois reality with forms taken from dreams and from decontextualized (hence all the more surreal) artifacts from the primitive world as it was imaginatively glimpsed through African masks and such in the Trocadero. Well, Carpentier found he didn't need the artifacts because there in the streets and the fields and the history of Haiti the marvelously real was staring him in the face. There it was lived. There it was culture, marvelous yet ordinary.

    Source: Shamanism, Colonialism, and the Wild Man, p. 165-166
  5. [T]he fact remains that the central elements of the situationist project -- rejection of the pseudo-world of the spectacle; support for workers' self-emancipation, the passion for freedom and true community, revolt against work and affirmation of play, détournement, revolution as festival, "consciousness of desire and desire for consciousness" -- were all essentials of surrealism's project long before the S.I. existed.

    Source: Dancin' in the Streets, p. 63