Guy Debord: The Society of the Spectacle

The specialization of images of the world is completed in the world of the autonomous image, where the liar has lied to himself (2).

The spectacle is not a collection of images, but a social relation among people, mediated by images (4).

…the spectacle aims at nothing other than itself (14).

…the spectacle is the main production of present day society (15).

The spectacle is the existing order’s uninterrupted discourse about itself, its laudatory monologue…(24).

The spectacle is capital to such a degree of accumulation that it becomes an image (34).
Modern economic production extends its dictatorship extensively and intensively. In the least industrialized places, its reign is already attested by a few star commodities and by the imperialist domination imposed by regions which are ahead in the development of productivity…(42).

The spectacle is a permanent opium war which aims to make people identify goods with commodities and satisfaction with survival that increases according to its own laws. But if consumable survival is something which must always increase, this is because it continues to contain privation. If there is nothing beyond increasing survival, if there is no point where it might stop growing, this is not because it is beyond privation, but because it is enriched privation (44).

In the inverted reality of the spectacle, use value (which was implicitly contained in exchange value) must now be explicitly proclaimed precisely because its factual reality is eroded by the overdeveloped commodity economy and because counterfeit life requires a pseudo-justification (48).

Tourism, human circulation considered as consumption, a by-product of the circulation of commodities, is fundamentally nothing more than the leisure of going to see what has become banal…(168).

…The “new towns” of the technological pseudo-peasantry clearly inscribe on the landscape their rupture with the historical time on which they are built; their motto could be: “On this spot nothing will ever happen, and nothing ever has.” (177).

Barnes: Flaubert's Parrot train image

[Narrator G. Braithwaite speaking of Mauriac]
He finds himself by looking in the works of others...Reading his 'memoirs' is like meeting a man on a train who says, 'Don't look at me, that's misleading. If you want to know what I'm like, wait until we're in a tunnel, and then study my reflection in the window.' You wait, and look, and catch a face against a shifting background of sooty walls, cables and sudden brickwork. The transparent shape flickers and jumps always a few feet away. You become accustomed to its existence, you move with its movements; and though you know its presence is conditional, you feel it to be permanent. Then there is a wail from ahead, a roar and a burst of light; the face is gone forever.

(p96 in Flaubert's Parrot, Julian Barnes - an otherwise forgettable book)