Well I finished the book today. Breaking it down point by point and then expanding on each of them on here was very time consuming. I'll write up chapter summaries and criticisms over the next while, and try to ape the style because Debord absolutely encourages (not figuratively, he literally asks for it) damning critique while borrowing his voice.
Very condensed summaries for the first few chapters are as follows.
Chapter 1 - essentially a phenomenology of the spectacle, looking at how it structures experiences and how that enstructurating is related to a Marxian conception of the economy. The major theoretical highlight, in my view, is some notion of equivalence between:
(1) the passivity of consumption
(2) the alienation of people from each-other
(3) the alienation of people from themselves
(4) the coupling of 1,2,3 reproducing 1,2,3
(5) the equivalence of (4) with the valorisation -the generation of social necessity- of passive consumption.
It's kind of a knot, the spectacle as a social process which delimits the social and then projects that delimitation to people in general. The equivalence being a kind of coimplication - if (1) is occuring it requires and induces (2) etc. That the spectacle as a process does something very strange to all the different ways time is measured when considering 1->3 as ways people spend time (time as a commodity) comes back in chapter 5 and 6.
Chapter 2 - looking at how the spectacle is implicit in the commodity form, it's a Marx reference heavy chapter. Debord is drawing out the social and economic implications of the commodification of everything. To reference a recent discussion with
@StreetlightX, it's an interpretation of commodification as substrate independent. Debord doesn't put it this way, but a central point is that space of possibilities for being an entrepreneur is essentially limitless, since commodity production also contains the production of desire for those commodities. Separation of commodities into discretized units within production (congealed lumps of human labour) induces the 'successive' character of the spectacle.
It is a series of events which has forgotten their generating time expenditures (actions). This discretisation - the simplification of time as time expenditure within a work day links back to chapter 1 and creates a space for the analysis of social and spectacular time in chapters 5 and 6 respectively.e substrate independence of commodification also plays a role in chapter 7, in which substrate independence is generalized to production process independence - providing a partial account of why it was so easy for capitalism to flourish in countries that sustained powerful workers movements after the movements died.
Chapter 3 -
is largely a tirade on the spectacle as a primary generator of false consciousness. In delimiting what is socially permitted, it simultaneously monopolizes the conceptual scheme for public expression. There is a kind of 'social democracy of images' which comes to dominate every aspect of our social lives. This is quite neatly expressed, IMO, through these lyrics from Bomb the Music Industry's '
All Ages Shows', which I'll reference again later:
All of my work was done
I turned the TV on and I forgot that I can turn it off
We live up on the top
They leave the door unlocked
So just come in
I don't need to buzz you up
And I never go anywhere
as a primary generator of false consciousness, it also structures how opinions change over time - the analogy of an externally generated conceptual scheme for social life is useful again here. This structuring of opinions over time is also an annihilation of history, in the sense that the spectacle delimits what is and is not part of the current narrative; modes of expression have their conditions of possibility in the conceptual scheme of their presentation. Thus, the spectacle is a 'chatter of the ruling class to itself'.
Chapters 4 to the end resist condensed summary, they're concerned with the transformation of 'the historical subject of revolution' and how it relates to the prefigured 'temporality of the spectacle' and the spatiality of global commodity production. Debord takes Soviet Russia's political climate as an early model of spectacular production (brief analogy - think of the show trials as a series of images imposed on the Russian proletariat delimiting the sphere of legitimate political activity), then looks at the distinctions between Marxian 'linear time of revolutions' - in which history culminates deterministically, the 'linear time' of the ruling class and how it constrains and develops the spectacle and concept of history at work in a populace.
A suggestive hyper-condensed summary might be: we react to the 'generators' of social life and history is indexed to the salient events which are presented, which has a useful resonance ideological state apparatuses; only the spectacle is not spatiotemporally localised, it is a generator of social temporality and a reflection of the disgust capitalist production has to geographical boundaries. The subject of history, in terms of how it is refracted by and projected into the spectacle, becomes the satiated consumer, abstracted from all of their history. From my notes:
The historical subject of bureaucracy underwent a transformation to the corporation. Thus the geographic limits placed on the domain of any specific ideology was gently destroyed through the universality of international market competition and its corresponding laws. The working class, those subordinated to this now delocalized corporate power, was thus abstracted away from its geographic localisations and is now a silent witness to its determinations in the distributed network of negotiations and trade constituting global markets.
Then, the phenomenology in chapters 1->4 of the worker's time expenditure culminates in a description of the conditioned 'cyclical' (really cylindrical) time of the work action/day/month/year. Lastly how the spectacle penetrates and structures the remaining time (helpful analogy - TV schedules as organizers of proletarian leisure time relativizing its expenditure to the continuous time of image production). Then there's a big but sympathetic fuck you to art which I don't understand as anything but a leftist intellectual insistence on the transformative nature of 'real revolutionary art' on populaces.
The final chapter invites the reader to produce a critical conception of what is universal in humankind, what new organisations will facilitate resistance to the terrifying power in coupled imperialism and global markets? What remains of humanity when the historical subject is a legal person rather than a person? Debord invites us to think carefully - what new practices can return humanity to humanity? How do we act politically in an age where politics has been separated from its people? Where 'what is to be done' is a maxim to make the headlines...
Edit: I forgot to include the second set of lyrics from the song. They're apposite in describing the temporality induced by working life under the spectacle:
In a trashed room in 1996
A fourteen year old punk and in a flash I'm my parents
And we'll never know love, 'cause I was too busy talking to my Green Day posters
They never said nothing to me...
Can you stay here?
Can we blast the Descendents?
Can we turn our phones off and get lost in The Simpsons?
I feel inches away from getting swallowed by darkness
And I know that you're tired, but can you draw back the curtains for me?