Simon Sadler searches for the Situationist City among the detritus of tracts, manifestos, and works of art that the Situationist International left behind. From 1957 to 1972 the artistic and political movement known as the Situationist International (SI) worked aggressively to subvert the conservative ideology of the Western world. The movement's broadside attack on "establishment" institutions and values left its mark upon the libertarian left, the counterculture, the revolutionary events of 1968, and more recent phenomena from punk to postmodernism. But over time it tended to obscure Situationism's own founding principles. In this book, Simon Sadler investigates the artistic, architectural, and cultural theories that were once the foundations of Situationist thought, particularly as they applied to the form of the modern city. According to the Situationists, the benign professionalism of architecture and design had led to a sterilization of the world that threatened to wipe out any sense of spontaneity or playfulness. The Situationists hankered after the "pioneer spirit" of the modernist period, when new ideas, such as those of Marx, Freud, and Nietzsche, still felt fresh and vital. By the late fifties, movements such as British and American Pop Art and French Nouveau Ralisme had become intensely interested in everyday life, space, and mass culture. The SI aimed to convert this interest into a revolution—at the level of the city itself. Their principle for the reorganization of cities was simple and seductive: let the citizens themselves decide what spaces and architecture they want to live in and how they wish to live in them. This would instantly undermine the powers of state, bureaucracy, capital, and imperialism, thereby revolutionizing people's everyday lives. Simon Sadler searches for the Situationist City among the detritus of tracts, manifestos, and works of art that the SI left behind. The book is divided into three parts. The first, "The Naked City," outlines the Situationist critique of the urban environment as it then existed. The second, "Formulary for a New Urbanism," examines Situationist principles for the city and for city living. The third, "A New Babylon," describes actual designs proposed for a Situationist City.

The Situationist International (SI), led by the revolutionary Guy Debord, were active throughout the 1950s and 60s. They published the journal Internationale Situationniste that included many incendiary texts on politics and art, and were a galvanizing force in the revolutions of May 1968. The importance of their work has been felt particularly in their revolutionary analysis of cities. The SI were responsible for utopian imaginings of the city, where its alienating effects from its routine use as a site of consumption and work were banished and it was instead to be turned into a place of play. Tom McDonough collects all the SI's key work in this area for an essential one-stop collection. Including such essential works as 'The Theory of the Derive', 'Formulary for a New Urbanism', and many previously untranslated texts, the book will also be strikingly illustrated by the images that were core to the Situationist project.

The Situationists, who first appeared on the architectural scene in the 1960s, regarded cities as the ultimate opportunity for creative self-expression. While there are many publications about the history of the Situationist International, New Babylonians offers unique coverage of how their tactics are currently employed in architectural and urban strategies. It features renowned architects and educators who were first generation Situationists and also highlights some of the most exciting international practitioners involved in urban design today. * Contains contributions from an impressive roster of academics, designers, writers, and art practitioners * Offers timely and lively insights about contemporary urban architecture and art

In this work the author suggests what is still vital in the Situationist legacy as well as how modern provocateurs have picked up the thread of those who dared to negate their contemporary world as a whole and imagine it anew.

Over fifty years after the Situationist International appeared, its legacy continues to inspire activists, artists and theorists around the world. Such a legend has accrued to this movement that the story of the SI now demands to be told in a contemporary voice capable of putting it into the context of twenty-first-century struggles. McKenzie Wark delves into the Situationists’ unacknowledged diversity, revealing a world as rich in practice as it is in theory. Tracing the group’s development from the bohemian Paris of the ’50s to the explosive days of May ’68, Wark’s take on the Situationists is biographically and historically rich, presenting the group as an ensemble creation, rather than the brainchild and dominion of its most famous member, Guy Debord. Roaming through Europe and the lives of those who made up the movement – including Constant, Asger Jorn, Michèle Bernstein, Alex Trocchi and Jacqueline De Jong – Wark uncovers an international movement riven with conflicting passions. Accessible to those who have only just discovered the Situationists and filled with new insights, The Beach Beneath the Street rereads the group’s history in the light of our contemporary experience of communications, architecture, and everyday life. The Situationists tried to escape the world of twentieth-century spectacle and failed in the attempt. Wark argues that they may still help us to escape the twenty-first century, while we still can.

Visions of the City is a dramatic history of utopian urbanism in the twentieth century. It explores radical demands for new spaces and ways of living, and considers their effects on planning, architecture and struggles to shape urban landscapes. The author critically examines influential utopian approaches to urbanism in western Europe associated with such figures as Ebenezer Howard and Le Corbusier, uncovering the political interests, desires and anxieties that lay behind their ideal cities. He also investigates avant-garde perspectives from the time that challenged these conceptions of cities, especially from within surrealism. At the heart of this richly illustrated book is an encounter with the explosive ideas of the situationists. Tracing the subversive practices of this avant-garde group and its associates from their explorations of Paris during the 1950s to their alternative visions based on nomadic life and play, David Pinder convincingly explains the significance of their revolutionary attempts to transform urban spaces and everyday life. He addresses in particular Constant's New Babylon, finding within his proposals a still powerful provocation to imagine cities otherwise. The book not only recovers vital moments from past hopes and dreams of modern urbanism. It also contests current claims about the 'end of utopia', arguing that reconsidering earlier projects can play a critical role in developing utopian perspectives today. Through the study of utopian visions, it aims to rekindle elements of utopianism itself. A superb critical exploration of the underside of utopian thought over the last hundred years and its continuing relevance in the here and now for thinking about possible urban worlds. The treatment of the Situationists and their milieu is a revelation. David Harvey, Distinguished Professor of Anthropology, City University of New York Graduate School

The Situationist International Anthology is the most comprehensive and accurately translated collection of situationist writings in English. In 1957 a few European avant-garde groups came together to form the Situationist International. Picking up where the dadaists and surrealists had left off, the situationists challenged people’s passive conditioning with carefully calculated scandals and the playful tactic of détournement (“rerouting, hijacking”). Seeking a more extreme social revolution than was dreamed of by most leftists, they developed an incisive critique of the global spectacle-commodity system and of its “Communist” pseudo-opposition, and their new methods of agitation helped trigger the May 1968 revolt in France. Since then situationist theories and tactics have continued to inspire radical currents all over the world. This volume presents a rich variety of articles, leaflets, graffiti, and internal documents, ranging from experiments in “psychogeography” to lucid analyses of the Watts riot, the Vietnam War, the Prague Spring, the Chinese Cultural Revolution, and other crises and upheavals of the sixties. For this new edition all the translations have been fine-tuned and the bibliography has been updated to include comments on dozens of newer books by and about the situationists.

Critical texts, translations, documents, and photographs on the work of the Situationist International. This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI's profound engagement with the art and cultural politics of their time (1957-1972), with a strong argument for their primarily political and activist stance by two former members of the group, T. J. Clark and Donald Nicholson-Smith. Guy Debord and the Situationist International supplements both sections. It reprints important, hard to find essays by Giorgio Agamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles the number of translations of primary texts, which now encompass a broader and more representative range of the SI's writings on culture and language. In a field still dominated by hagiography, the critical texts were selected for their willingness to confront critically the history and legacy of the SI. They examine the group within the broader framework of the historical and neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI's reflections on the legacy of the avant-garde in art and architecture, particularly on the linguistic and spatial significance of montage aesthetics. Many of the translated works are by Guy Debord (1932-1994), the impresario of the SI, especially known for his book The Society of the Spectacle.

The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.