The Human Condition

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La Condition Humaine-Rene Magritte 1933

Subtly terrifying, Rene Magritte’s La Condition Humaine uses the picture within a picture device that was to become a Magritte trademark. The painting is realistically banal, showing a painting by a window that is an exact representation of the obscured landscape. Or is it? Is the human condition the fact that we are trapped in the realm of appearances and any attempt to tear asunder the veil will reveal only another deceptive surface without any depth?

Magritte was characteristically unrevealing in his comments on the painting:

‘In front of a window seen from inside a room, I placed a painting representing exactly that portion of the landscape covered by the painting. Thus, the tree in the picture hid the tree behind it, outside the room. For the spectator, it was both inside the room within the painting and outside in the real landscape.’

The Ultimate Spectacle

guy-debord_hurlements-21 Guy Debord-Howling for De Sade 1952[/caption]

“Who wants a world in which the guarantee that we shall not die of starvation entails the risk of dying of boredom?”  Raoul Vaneigem,The Revolution of Everyday Life 1967

“In a world that is really upside down, the true is a moment of the false.” Guy Debord, The Society of the Spectacle 1967

In 1967 the French film-maker, writer and head theorist of the Situationist International (Moving ImagesThe Hacienda Must Be Built), Guy Debord published an influential book of Marxist critical theory, The Society of the Spectacle, consisting of 221 thesis. Within its elegantly written and rigorously argued pages Debord advanced the theory of the Spectacle. The Spectacle has degraded authentic life and replaced it with mere representation, a decline of being into having, and having into merely appearing. The Spectacle has supplanted relationships between people with relationships between commodities and we passively identify with the Spectacle. “The spectacle is not a collection of images,”  Debord notes,  “rather, it is a social relationship between people that is mediated by images.”  The Spectacle obliterates the past and annihilates the future so that we live in an never-ending present. In this affect-less neuter-time there has been a systematic degradation of knowledge and we are incapable of critical thought, unaware that we are living in a moment in history.

In 1992 Francis Fukuyama in his book The End of History, announced that Western neo-liberalism was the final point in human evolution; it wasn’t going to get better than this and that we were living in a post-historical period: the Spectacle had won.

But of course the statement by the Situationist Raoul Vaneigem quoted above holds true, and after a period when the Spectacle lacked a certain zest and an inability to hold our complete and undivided attention, the world has really turned upside down again. The true is a moment of the false. And we watch and wait with bated breath, in a rapt trance, with a horrified fascination as to what comes next. Maybe this time it will be the Ultimate Spectacle?