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Most obviously and unfortunately by the fact that I contracted covid shortly after posting. For the
situationists, the notion of avant-garde, to the extent that it had come to merely justify an
unchallenged hierarchy amenable to a capitalist division of labour, had ceased to be of any use. As
Debord would put it some years later in The Society of the Spectacle. The armchair advisors who
want to admire and understand us from a respectful distance readily recommend to us the purity of
the first attitude while they themselves adopt the second one. In part, this can be seen in the
arguments that raged over the significance of art that reached a peak at the 5th Conference of the
group in August 1961. The question, then, was not one of educating the proletariat in the guise of
the eternal sacrifice of the intellectual leader, but rather participating in the clarification and cohering
of a fractured and dispersed contestation that was already underway. More pertinently by what I
would call a certain lack I identified in the project of publishing new translations of articles from
Internationale Situationniste no. 7 (hereafter IS no. 7). Which is to say, as a moment of the forces of
refusal and rebellion that were real products of the spread and development of capitalist alienation.
The first, published in 1997, excised the name of the original addressee, Thomas Y. To manifest the
anti-manifesto, and to leave nothing to posterity but the fading and fallible memory of the passage of
a few persons through a rather brief unity of time. Nonetheless, I feel that the confusion of these
earlier translators was understandable. In the Leninist and Stalinist vernaculars, it indicated the
necessary gap between the merely social democratic consciousness of the worker and the avant-
garde consciousness of the revolutionary who would lead the worker to the promised land. The
phrase in question is a particularly convoluted one in the French. Patrick Mosconi, Paris: Librairie
Artheme Fayard, 2001. The second, published in 2008, reinstated the full text of the note as it was
originally conceived: as a letter addressed to Thomas Y. Alastair Hemmens and Gabriel Zacarias,
London: Pluto Press, 2020. In part, it emerged from Debord’s participation in the Socialisme ou
Barbarie group over 1960 and 1961. Patrick Mosconi, Paris: Librairie Artheme Fayard, 2001, p. 127.
Italics in the original. We are neither going to leave the present field of culture to them nor mix with
them. However, this was not a return to the heady days of Letterist nihilism. As the group would
later write, in an article moreover that took its title from the Hamburg Theses. However, whereas the
seventh issue cements this turn, the turn itself had been underway for a good two years. For details
of the original French version, see footnote 1, above. Marx’s early conception of the intersection of a
radical philosophical project and a proletariat struggling to overcome their respective alienations and
separations amidst the commercial wastelands of a fledgling industrial capitalism would become a
central point of refence for the situationists. Tom McDonough, Cambridge, Massachusetts: The MIT
Press, 2004. And the Hamburg Theses is perhaps the most singular proof of this. Perhaps these
translators believed that Debord was talking here of the revolutionary movement they proposed to
relaunch as opposed to the relaunching itself. Levin in 1989, the Hamburg Theses never existed as a
finished document. Indeed, Debord considered that in Marx’s notion of the congruence of the self-
abolition of philosophy and the proletariat could be found a process akin to the various artistic
avant-gardes of the 19th and 20th centuries—all of whom appeared to move inexorably toward the
progressive destruction of traditional aesthetic and artistic truth.
Nonetheless, I feel that the confusion of these earlier translators was understandable. Patrick
Mosconi, Paris: Librairie Artheme Fayard, 2001. Alastair Hemmens and Gabriel Zacarias, London:
Pluto Press, 2020. As the group would later write, in an article moreover that took its title from the
Hamburg Theses. Perhaps these translators believed that Debord was talking here of the
revolutionary movement they proposed to relaunch as opposed to the relaunching itself. The armchair
advisors who want to admire and understand us from a respectful distance readily recommend to us
the purity of the first attitude while they themselves adopt the second one. And the Hamburg Theses
is perhaps the most singular proof of this. For details of the original French version, see footnote 1,
above. Rather, like Marx they held to the idea that such a theory and practice itself emerged from the
experience of the alienated and conflictual nature of proletarian life. The phrase in question is a
particularly convoluted one in the French. Tom McDonough, Cambridge, Massachusetts: The MIT
Press, 2004. In part, it emerged from Debord’s participation in the Socialisme ou Barbarie group over
1960 and 1961. Indeed, Debord considered that in Marx’s notion of the congruence of the self-
abolition of philosophy and the proletariat could be found a process akin to the various artistic
avant-gardes of the 19th and 20th centuries—all of whom appeared to move inexorably toward the
progressive destruction of traditional aesthetic and artistic truth. Which is to say, as a moment of the
forces of refusal and rebellion that were real products of the spread and development of capitalist
alienation. Most obviously and unfortunately by the fact that I contracted covid shortly after posting.
More pertinently by what I would call a certain lack I identified in the project of publishing new
translations of articles from Internationale Situationniste no. 7 (hereafter IS no. 7). In part, this can
be seen in the arguments that raged over the significance of art that reached a peak at the 5th
Conference of the group in August 1961. In the Leninist and Stalinist vernaculars, it indicated the
necessary gap between the merely social democratic consciousness of the worker and the avant-
garde consciousness of the revolutionary who would lead the worker to the promised land. Levin in
1989, the Hamburg Theses never existed as a finished document. However, whereas the seventh
issue cements this turn, the turn itself had been underway for a good two years. We are neither going
to leave the present field of culture to them nor mix with them. As Debord would put it some years
later in The Society of the Spectacle. Marx’s early conception of the intersection of a radical
philosophical project and a proletariat struggling to overcome their respective alienations and
separations amidst the commercial wastelands of a fledgling industrial capitalism would become a
central point of refence for the situationists. However, by 1961 the situationists around Debord,
Vaneigem and Kotanyi were beginning to conceive of the particularities of their project as a moment
of a more general revolutionary contestation dispersed in time and space. The first, published in
1997, excised the name of the original addressee, Thomas Y. Patrick Mosconi, Paris: Librairie
Artheme Fayard, 2001, p. 127. Italics in the original. For the situationists, the notion of avant-garde,
to the extent that it had come to merely justify an unchallenged hierarchy amenable to a capitalist
division of labour, had ceased to be of any use. To manifest the anti-manifesto, and to leave nothing
to posterity but the fading and fallible memory of the passage of a few persons through a rather brief
unity of time. However, this was not a return to the heady days of Letterist nihilism.
Which is to say, as a moment of the forces of refusal and rebellion that were real products of the
spread and development of capitalist alienation. For details of the original French version, see
footnote 1, above. In the Leninist and Stalinist vernaculars, it indicated the necessary gap between
the merely social democratic consciousness of the worker and the avant-garde consciousness of the
revolutionary who would lead the worker to the promised land. As Debord would put it some years
later in The Society of the Spectacle. The second, published in 2008, reinstated the full text of the
note as it was originally conceived: as a letter addressed to Thomas Y. Tom McDonough, Cambridge,
Massachusetts: The MIT Press, 2004. Alastair Hemmens and Gabriel Zacarias, London: Pluto Press,
2020. Patrick Mosconi, Paris: Librairie Artheme Fayard, 2001, p. 127. Italics in the original. Marx’s
early conception of the intersection of a radical philosophical project and a proletariat struggling to
overcome their respective alienations and separations amidst the commercial wastelands of a
fledgling industrial capitalism would become a central point of refence for the situationists. Rather,
like Marx they held to the idea that such a theory and practice itself emerged from the experience of
the alienated and conflictual nature of proletarian life. We are neither going to leave the present field
of culture to them nor mix with them. The phrase in question is a particularly convoluted one in the
French. The question, then, was not one of educating the proletariat in the guise of the eternal
sacrifice of the intellectual leader, but rather participating in the clarification and cohering of a
fractured and dispersed contestation that was already underway. The first, published in 1997, excised
the name of the original addressee, Thomas Y. In part, this can be seen in the arguments that raged
over the significance of art that reached a peak at the 5th Conference of the group in August 1961.
Levin in 1989, the Hamburg Theses never existed as a finished document. The armchair advisors
who want to admire and understand us from a respectful distance readily recommend to us the
purity of the first attitude while they themselves adopt the second one. However, by 1961 the
situationists around Debord, Vaneigem and Kotanyi were beginning to conceive of the particularities
of their project as a moment of a more general revolutionary contestation dispersed in time and
space. For the situationists, the notion of avant-garde, to the extent that it had come to merely justify
an unchallenged hierarchy amenable to a capitalist division of labour, had ceased to be of any use. In
part, it emerged from Debord’s participation in the Socialisme ou Barbarie group over 1960 and
1961. And the Hamburg Theses is perhaps the most singular proof of this. To manifest the anti-
manifesto, and to leave nothing to posterity but the fading and fallible memory of the passage of a
few persons through a rather brief unity of time. Perhaps these translators believed that Debord was
talking here of the revolutionary movement they proposed to relaunch as opposed to the relaunching
itself. However, this was not a return to the heady days of Letterist nihilism. Indeed, Debord
considered that in Marx’s notion of the congruence of the self-abolition of philosophy and the
proletariat could be found a process akin to the various artistic avant-gardes of the 19th and 20th
centuries—all of whom appeared to move inexorably toward the progressive destruction of
traditional aesthetic and artistic truth. More pertinently by what I would call a certain lack I
identified in the project of publishing new translations of articles from Internationale Situationniste
no. 7 (hereafter IS no. 7). However, whereas the seventh issue cements this turn, the turn itself had
been underway for a good two years. Patrick Mosconi, Paris: Librairie Artheme Fayard, 2001.
Nonetheless, I feel that the confusion of these earlier translators was understandable.