“Já não existe ágora”. Sobre a crítica situacionista à expropriação da comunicação como crítica de arquitetura
Based on Debord’s Commentaries on the Society of the Spectacle (1988) and Constant’s artistics production (1960-1985), I analyze moments in the trajectories, in which it is shown that the critique of the experience of expropriated communication cannot be made without a continued critique of the urba...
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| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2022 |
| País: | Brasil |
| Recursos: | Universidade Federal de Minas Gerais (UFMG) |
| Repositório: | Repositório Institucional da UFMG |
| Idioma: | português |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/61291 |
| Acesso em linha: | https://doi.org/10.11606/1984-4506.risco.2022.190991 http://hdl.handle.net/1843/61291 https://orcid.org/0000-0002-0794-0826 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Apropriacão Arquiteturas da insurreição Teoria do urbanismo Espetáculo Guy Debord Constant Nieuwenhuys Filosofia Planejamento urbano Apropriação (Arte) Insurrreição |
| Resumo: | Based on Debord’s Commentaries on the Society of the Spectacle (1988) and Constant’s artistics production (1960-1985), I analyze moments in the trajectories, in which it is shown that the critique of the experience of expropriated communication cannot be made without a continued critique of the urban experience. In the integrated spectacular, separation is a condition for sustaining social configurations. In the arrangement of the society of the spectacle, the one who listens never replies, which is equivalent to a passive behavior in contemplation. This impoverishment of communication corresponds to the impoverishment of life under the spectacle’s domination; nevertheless, to the communication that takes place in the radical praxis of dialogue lies the possibility of resistance to the spectacular power. |
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