A user’s guide to détournement pdf
[3] Debord, A User’s Guide to Détournement, in Mode d’emploi du détournement originally appeared in the Belgian surrealist journal Les Lèvres Nues #8 (Brussels: May 1956). [link] [4] Debord, Society of the Spectacle, § 42 (Italics in the original).
pdf. Insinuation: Détournement as Gendered Repetition . 14 Pages. Insinuation: Détournement as Gendered Repetition détournement projects suggested by Guy Debord and Gil Wol- man in their 1956 “User’s Guide to Détourne- ment” include modified pinball machines and a new version of D. W. Griffith’s Birth of a Nation that would accompany the film’s images with a voiceover
Abstract. In this chapter we explore how détournement, a short film consisting of juxtapositions of existing media, can be used in teacher education to challenge dominant myths in …
practical because it’s so easy to use and because of its inexhaustible potential for reuse. Concerning the negligible effort required for dé- tournement, we have already noted that “the cheapness of its products is the heavy artillery that breaks through all the Chinese walls of
McKenzie Wark – Détournement: An Abuser’s Guide Question : Is it still possible to conjure dissonance—and stop viewers in their tracks—by juxtaposing two contrasting images / sounds? In a world of constant psychedelic intensity, where signals vie for attention and cancel each other out, where discontinuity is the norm (zapping, rapid editing etc.), can there still exist room for REAL
John Greyson is perhaps best known for his activist videos and feature filmmaking, but he has also produced a great deal of experimental films and videos, often using found footage. A current instance of Greyson’s found footage filmmaking is his recent Youtube and Vimeo activist works such as Killer
Guy Debord and Gil J Wolman, ‘A User’s Guide to Détournement,’ Situationist International Anthology, edited by Ken Knabb (Bureau of Public Secrets, 2006) 14-21. Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (Secker & Warburg, 1990).
A User s Guide to Détournement(1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
In 1956, Guy Debord proclaimed that “every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity” (Debord, A User’s Guide to Détournement 1). What was their method of attack on this world of bastardized, commercialized spectacle? Quite simply, it was play. Although subversion through theatre and play is hardly a novel
A détournement (French: [detuʁnəmɑ̃]), meaning “rerouting, hijacking” in French, is a technique developed in the 1950s by the Letterist International, and later adapted by the Situationist International (SI), that was defined in the SI’s inaugural 1958 journal as “[t]he integration of present or past artistic productions into a superior
14/11/2012 · “A User’s Guide to Détournement (1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
And it is very practical because it’s so easy to use and because of its inexhaustible potential for reuse. Concerning the negligible effort required for détournement, we have already noted that “the cheapness of its products is the heavy artillery that breaks through all the Chinese walls of understanding” ( A User’s Guide to Détournement , May 1956).
Abstract. While preparing to write this introduction to Detournement as Pedagogical Praxis, I read a great deal about the Paris-based avant-garde group called the Situationist International (SI) because the theory and critical practice of detournement is most often associated in academic writing with the SI.
In A User’s Guide to Détournement by Guy Debord and Gil J Wolman, written in 1957, the authors make the following observation: Any elements, no matter where they are taken from, can be used to make new contributions.
Debord’s public announcement of the SI’s death four years later was a bid for immortality. Debord, who bulks large in this and most accounts, remained a difficult figure, drinking with self-destructive dedication, and finally, in 1994, shooting himself in the heart.
A place for philosophical discussion of what’s on most thinking minds. We exist in a culture of narrative and media that increasingly, willfully combines agency-robbing fantasy mythos with instantaneous technological dissemination—a self-mutating proteum of semantics: the spectacle .
1Another important aspect is the anecdote’s terminology: Pliny’s use of the words “scaenam” and “linteum” delineate the “background” as a theatrical stage and the scene itself as skenography .
B U R E A U O F P U B L I C S E C R E T S A User’s Guide to Détournement(1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be
A User’s Guide to Détournement Propaganda scribd.com
https://youtube.com/watch?v=GicmNOX3GMY
Détournement Wikipedia
low Lettrist Gil J. Wolman in their 1956 manifesto “A User’s Guide to Détournement.” According to Debord and Wolman, détournement seeks not only to negate or refute the original meaning of earlier works but also to turn around (pervert) their meaning in a critical sense. In this way, they acknowledge the precedence of the subversive plagiarism of Comte de Lautréamont, who sought in
Consequently, publications in 2006, one may wonder what kind of addressed by Wolman, Debord, by the SI appeared in reprints, and user is addressed in the User’s Guide Vaneigem and others associated with numerous books of scholarly research presented to us. the SI. They are potential revolutionar- were published. In a sense, the book is a classic. It ies, the exception being that this time In
As early as 1956, in “A User’s Guide to Detournement”, Debord and Situationist collaborator Gil J. Wolman had argued that film, whose “extensive powers” have gone “glaringly under-coordinated”, is the single most conducive mechanism for “effective and beautiful” detournement.
Détournement and metagraphy Apart from the various direct uses of detourned phrases in posters, records and radio broadcasts, the two main applications of detourned prose are metagraphic writings and, to a lesser degree, the adroit perversion of the classical novel form.
text archives > presituationist texts > lettrist international > A User’s Guide to Détournement Guy Debord & Gil J. Wolman Les Lèvres Nues #8 (May 1956)
The most straightforward way to repurpose a film is too simply re-edit it, introducing little or no new constituent elements. Dating back to the likes of Padenie Distanii Romanovykh (The Fall of the Romanov Dynasty, Esfir Shub, 1927), the found footage or collage film has become a diverse genre.
This paper will address the trend within locative media art of invoking the practices of the Situationist International (SI) as an art historical and theoretical background to contemporary practices.
Abstract. Recently, I had the opportunity to work with several former teacher education students, who are all then currently first year teachers, in a professional development program.
The Cradle of Humanity: Prehistoric Art and Culture (review) Allan Graubard Leonardo, Volume 39, Number 3, June 2006, pp. 260-261 (Review) Published by The MIT Press
21/07/2011 · A User’s Guide to Détournement (1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
The Situationist International. This is a very VERY basic introduction to the Situationist International. The Situationist International was a political and artistic group formed in 1957 with the merging of several groups namely the “International Movement for an Imaginative Bauhaus”, “The Lettrist International” and “The London
Through these situations, the SI was determined to subvert the institutional uses of language and art using what they termed détournement, or “the use of old material for new ends,” (Puchner 224). What this amounts to is play in a unique form: play is used to undermine the very institution of language, and therefore both social order and authoritative control. As a result, the SI’s
A User’s Guide to Détournement . Any reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one could honorably devote oneself.
As the “User’s Guide” notes: “It is necessary to conceive of a parodic-serious stage where the accumulation of detourned elements, far from aiming to arouse indignation or laughter by alluding to some original work, will express our indifference toward a meaningless and forgotten original, and concern itself with rendering a certain sublimity.”
“A User’s Guide to Détournement” “Détournement as Negation and Prelude” Mark Dery, “Culture Jamming: Hacking, Slashing, and Sniping in the Empire of Signs”
In A User’s Guide, Guy Debord and Gil Wolman succinctly define the two most common forms of détournement and four rules for guiding its creation, here shared is the single most common form and what they consider a primary, critical, and universal rule:
Content: Debord and Wolman’s “A User’s guide to detournement,” provides an interesting discussion of various means of detournement. The authors distinguish between minor and deceptive detournements, a distinction which they follow with a listing of key elements of detournement. They note that “the mutual interference of two worlds of feeling, or the bringing together of two independent
“A User’s Guide to Detournement”. Translated by Ken Knabb from the Situationist International Anthology, 2006. This translation is available online at: Translated by Ken Knabb from the Situationist International Anthology, 2006.
A user’s guide to détournement “Mode d’emploi du détournement” originally appeared in the Belgian surrealist journal Les Lèvres Nues #8 (May 1956). This translation by Ken Knabb is from the Situationist International Anthology (Revised and Expanded Edition, 2006).
A User’s Guide to Détournement Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
Détournement’s wiki: A détournement ( French: [detuʁnəmɑ̃] ), meaning “rerouting, hijacking” in French, is a technique developed in the 1950s by the Letterist International, [2] and later adapted by the Situationist International (SI), [3] that was d…
Design for Etilen Zine, A User’s Guide to Détournement by Guy Debord & Gil J. Wolman, 1956.
Google Earth User Guide This user guide describes Google Earth Version 4 and later. Welcome to Google Earth! Once you download and install Google Earth, your computer becomes a window to anywhere on the planet, allowing you to view high-resolution aerial and satellite imagery, elevation terrain, road and street labels, business listings, and more. See Five Cool, Easy Things You Can Do …
https://youtube.com/watch?v=IiRtNvvYvW4
Low Theory Sydney Review of Books
A cigarette advertisement on a billboard turned into a détournement by defacing the cowboy image and modifying the text, probably including “Marlboro,” to read “It’s a bore.”
“Digitality and Detournement John Greyson’s BDS Videos
Metagraphy Wikiversity
Knabb Ken Situationist International Anthology
Guy Debord Great Director profile • Senses of Cinema
Détournement WikiVisually
Détournement ipfs.io
https://youtube.com/watch?v=VkSxmlVMMnU
A User’s Guide to Detournement (Debord & Wolman)
Reimagining the world A Psychedelic Psychogeography
The Construction of Locative Situations Locative Media
Eye Magazine Review Getting the psychogeographic drift
https://youtube.com/watch?v=5Cyra3i1uUg
A user’s guide to détournement Walks of Life
Reimagining the world A Psychedelic Psychogeography
The Situationist International Space Hijackers
Through these situations, the SI was determined to subvert the institutional uses of language and art using what they termed détournement, or “the use of old material for new ends,” (Puchner 224). What this amounts to is play in a unique form: play is used to undermine the very institution of language, and therefore both social order and authoritative control. As a result, the SI’s
A place for philosophical discussion of what’s on most thinking minds. We exist in a culture of narrative and media that increasingly, willfully combines agency-robbing fantasy mythos with instantaneous technological dissemination—a self-mutating proteum of semantics: the spectacle .
Consequently, publications in 2006, one may wonder what kind of addressed by Wolman, Debord, by the SI appeared in reprints, and user is addressed in the User’s Guide Vaneigem and others associated with numerous books of scholarly research presented to us. the SI. They are potential revolutionar- were published. In a sense, the book is a classic. It ies, the exception being that this time In
Design for Etilen Zine, A User’s Guide to Détournement by Guy Debord & Gil J. Wolman, 1956.
1Another important aspect is the anecdote’s terminology: Pliny’s use of the words “scaenam” and “linteum” delineate the “background” as a theatrical stage and the scene itself as skenography .
text archives > presituationist texts > lettrist international > A User’s Guide to Détournement Guy Debord & Gil J. Wolman Les Lèvres Nues #8 (May 1956)
In A User’s Guide, Guy Debord and Gil Wolman succinctly define the two most common forms of détournement and four rules for guiding its creation, here shared is the single most common form and what they consider a primary, critical, and universal rule:
Guy Debord and Gil J Wolman, ‘A User’s Guide to Détournement,’ Situationist International Anthology, edited by Ken Knabb (Bureau of Public Secrets, 2006) 14-21. Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (Secker & Warburg, 1990).
The most straightforward way to repurpose a film is too simply re-edit it, introducing little or no new constituent elements. Dating back to the likes of Padenie Distanii Romanovykh (The Fall of the Romanov Dynasty, Esfir Shub, 1927), the found footage or collage film has become a diverse genre.
As early as 1956, in “A User’s Guide to Detournement”, Debord and Situationist collaborator Gil J. Wolman had argued that film, whose “extensive powers” have gone “glaringly under-coordinated”, is the single most conducive mechanism for “effective and beautiful” detournement.
A user’s guide to détournement “Mode d’emploi du détournement” originally appeared in the Belgian surrealist journal Les Lèvres Nues #8 (May 1956). This translation by Ken Knabb is from the Situationist International Anthology (Revised and Expanded Edition, 2006).
“A User’s Guide to Détournement” “Détournement as Negation and Prelude” Mark Dery, “Culture Jamming: Hacking, Slashing, and Sniping in the Empire of Signs”
As the “User’s Guide” notes: “It is necessary to conceive of a parodic-serious stage where the accumulation of detourned elements, far from aiming to arouse indignation or laughter by alluding to some original work, will express our indifference toward a meaningless and forgotten original, and concern itself with rendering a certain sublimity.”
Movie Rip-Offs A User’s Guide – Détournement and Dub
Détournement Wiki Everipedia
John Greyson is perhaps best known for his activist videos and feature filmmaking, but he has also produced a great deal of experimental films and videos, often using found footage. A current instance of Greyson’s found footage filmmaking is his recent Youtube and Vimeo activist works such as Killer
A cigarette advertisement on a billboard turned into a détournement by defacing the cowboy image and modifying the text, probably including “Marlboro,” to read “It’s a bore.”
14/11/2012 · “A User’s Guide to Détournement (1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
Content: Debord and Wolman’s “A User’s guide to detournement,” provides an interesting discussion of various means of detournement. The authors distinguish between minor and deceptive detournements, a distinction which they follow with a listing of key elements of detournement. They note that “the mutual interference of two worlds of feeling, or the bringing together of two independent
As the “User’s Guide” notes: “It is necessary to conceive of a parodic-serious stage where the accumulation of detourned elements, far from aiming to arouse indignation or laughter by alluding to some original work, will express our indifference toward a meaningless and forgotten original, and concern itself with rendering a certain sublimity.”
Insinuation Détournement as Gendered Repetition Patrick
Ele Geçirip Saptırma İçin Kullanıcı Kılavuzu on Behance
Abstract. In this chapter we explore how détournement, a short film consisting of juxtapositions of existing media, can be used in teacher education to challenge dominant myths in …
low Lettrist Gil J. Wolman in their 1956 manifesto “A User’s Guide to Détournement.” According to Debord and Wolman, détournement seeks not only to negate or refute the original meaning of earlier works but also to turn around (pervert) their meaning in a critical sense. In this way, they acknowledge the precedence of the subversive plagiarism of Comte de Lautréamont, who sought in
A détournement (French: [detuʁnəmɑ̃]), meaning “rerouting, hijacking” in French, is a technique developed in the 1950s by the Letterist International, and later adapted by the Situationist International (SI), that was defined in the SI’s inaugural 1958 journal as “[t]he integration of present or past artistic productions into a superior
In 1956, Guy Debord proclaimed that “every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity” (Debord, A User’s Guide to Détournement 1). What was their method of attack on this world of bastardized, commercialized spectacle? Quite simply, it was play. Although subversion through theatre and play is hardly a novel
21/07/2011 · A User’s Guide to Détournement (1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
A User’s Guide to Détournement . Any reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one could honorably devote oneself.
McKenzie Wark – Détournement: An Abuser’s Guide Question : Is it still possible to conjure dissonance—and stop viewers in their tracks—by juxtaposing two contrasting images / sounds? In a world of constant psychedelic intensity, where signals vie for attention and cancel each other out, where discontinuity is the norm (zapping, rapid editing etc.), can there still exist room for REAL
As the “User’s Guide” notes: “It is necessary to conceive of a parodic-serious stage where the accumulation of detourned elements, far from aiming to arouse indignation or laughter by alluding to some original work, will express our indifference toward a meaningless and forgotten original, and concern itself with rendering a certain sublimity.”
Abstract. Recently, I had the opportunity to work with several former teacher education students, who are all then currently first year teachers, in a professional development program.
The most straightforward way to repurpose a film is too simply re-edit it, introducing little or no new constituent elements. Dating back to the likes of Padenie Distanii Romanovykh (The Fall of the Romanov Dynasty, Esfir Shub, 1927), the found footage or collage film has become a diverse genre.
A User’s Guide to Détournement Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
Content: Debord and Wolman’s “A User’s guide to detournement,” provides an interesting discussion of various means of detournement. The authors distinguish between minor and deceptive detournements, a distinction which they follow with a listing of key elements of detournement. They note that “the mutual interference of two worlds of feeling, or the bringing together of two independent
Ele Geçirip Saptırma İçin Kullanıcı Kılavuzu on Behance
Towards Structural Attribution SpringerLink
The most straightforward way to repurpose a film is too simply re-edit it, introducing little or no new constituent elements. Dating back to the likes of Padenie Distanii Romanovykh (The Fall of the Romanov Dynasty, Esfir Shub, 1927), the found footage or collage film has become a diverse genre.
Guy Debord and Gil J Wolman, ‘A User’s Guide to Détournement,’ Situationist International Anthology, edited by Ken Knabb (Bureau of Public Secrets, 2006) 14-21. Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (Secker & Warburg, 1990).
“A User’s Guide to Detournement”. Translated by Ken Knabb from the Situationist International Anthology, 2006. This translation is available online at: Translated by Ken Knabb from the Situationist International Anthology, 2006.
A place for philosophical discussion of what’s on most thinking minds. We exist in a culture of narrative and media that increasingly, willfully combines agency-robbing fantasy mythos with instantaneous technological dissemination—a self-mutating proteum of semantics: the spectacle .
Détournement’s wiki: A détournement ( French: [detuʁnəmɑ̃] ), meaning “rerouting, hijacking” in French, is a technique developed in the 1950s by the Letterist International, [2] and later adapted by the Situationist International (SI), [3] that was d…
Abstract. While preparing to write this introduction to Detournement as Pedagogical Praxis, I read a great deal about the Paris-based avant-garde group called the Situationist International (SI) because the theory and critical practice of detournement is most often associated in academic writing with the SI.
practical because it’s so easy to use and because of its inexhaustible potential for reuse. Concerning the negligible effort required for dé- tournement, we have already noted that “the cheapness of its products is the heavy artillery that breaks through all the Chinese walls of
The Introduction to Detournement as Pedagogical Praxis
Politics of Play Situationism Détournement and Anti-Art
As the “User’s Guide” notes: “It is necessary to conceive of a parodic-serious stage where the accumulation of detourned elements, far from aiming to arouse indignation or laughter by alluding to some original work, will express our indifference toward a meaningless and forgotten original, and concern itself with rendering a certain sublimity.”
14/11/2012 · “A User’s Guide to Détournement (1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
practical because it’s so easy to use and because of its inexhaustible potential for reuse. Concerning the negligible effort required for dé- tournement, we have already noted that “the cheapness of its products is the heavy artillery that breaks through all the Chinese walls of
As early as 1956, in “A User’s Guide to Detournement”, Debord and Situationist collaborator Gil J. Wolman had argued that film, whose “extensive powers” have gone “glaringly under-coordinated”, is the single most conducive mechanism for “effective and beautiful” detournement.
A place for philosophical discussion of what’s on most thinking minds. We exist in a culture of narrative and media that increasingly, willfully combines agency-robbing fantasy mythos with instantaneous technological dissemination—a self-mutating proteum of semantics: the spectacle .
Content: Debord and Wolman’s “A User’s guide to detournement,” provides an interesting discussion of various means of detournement. The authors distinguish between minor and deceptive detournements, a distinction which they follow with a listing of key elements of detournement. They note that “the mutual interference of two worlds of feeling, or the bringing together of two independent
Guy Debord and Gil J Wolman, ‘A User’s Guide to Détournement,’ Situationist International Anthology, edited by Ken Knabb (Bureau of Public Secrets, 2006) 14-21. Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (Secker & Warburg, 1990).
Guy Debord Great Director profile • Senses of Cinema
Détournement WikiVisually
A User’s Guide to Détournement . Any reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one could honorably devote oneself.
A cigarette advertisement on a billboard turned into a détournement by defacing the cowboy image and modifying the text, probably including “Marlboro,” to read “It’s a bore.”
John Greyson is perhaps best known for his activist videos and feature filmmaking, but he has also produced a great deal of experimental films and videos, often using found footage. A current instance of Greyson’s found footage filmmaking is his recent Youtube and Vimeo activist works such as Killer
B U R E A U O F P U B L I C S E C R E T S A User’s Guide to Détournement(1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be
21/07/2011 · A User’s Guide to Détournement (1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
McKenzie Wark – Détournement: An Abuser’s Guide Question : Is it still possible to conjure dissonance—and stop viewers in their tracks—by juxtaposing two contrasting images / sounds? In a world of constant psychedelic intensity, where signals vie for attention and cancel each other out, where discontinuity is the norm (zapping, rapid editing etc.), can there still exist room for REAL
Debord’s public announcement of the SI’s death four years later was a bid for immortality. Debord, who bulks large in this and most accounts, remained a difficult figure, drinking with self-destructive dedication, and finally, in 1994, shooting himself in the heart.
A User’s Guide to Détournement Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
A User s Guide to Détournement(1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
low Lettrist Gil J. Wolman in their 1956 manifesto “A User’s Guide to Détournement.” According to Debord and Wolman, détournement seeks not only to negate or refute the original meaning of earlier works but also to turn around (pervert) their meaning in a critical sense. In this way, they acknowledge the precedence of the subversive plagiarism of Comte de Lautréamont, who sought in
This paper will address the trend within locative media art of invoking the practices of the Situationist International (SI) as an art historical and theoretical background to contemporary practices.
1Another important aspect is the anecdote’s terminology: Pliny’s use of the words “scaenam” and “linteum” delineate the “background” as a theatrical stage and the scene itself as skenography .
The most straightforward way to repurpose a film is too simply re-edit it, introducing little or no new constituent elements. Dating back to the likes of Padenie Distanii Romanovykh (The Fall of the Romanov Dynasty, Esfir Shub, 1927), the found footage or collage film has become a diverse genre.
The Situationist International. This is a very VERY basic introduction to the Situationist International. The Situationist International was a political and artistic group formed in 1957 with the merging of several groups namely the “International Movement for an Imaginative Bauhaus”, “The Lettrist International” and “The London
In 1956, Guy Debord proclaimed that “every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity” (Debord, A User’s Guide to Détournement 1). What was their method of attack on this world of bastardized, commercialized spectacle? Quite simply, it was play. Although subversion through theatre and play is hardly a novel
A User’s Guide to Détournement Propaganda scribd.com
Eye Magazine Review Getting the psychogeographic drift
“A User’s Guide to Detournement”. Translated by Ken Knabb from the Situationist International Anthology, 2006. This translation is available online at: Translated by Ken Knabb from the Situationist International Anthology, 2006.
A User s Guide to Détournement(1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself.
low Lettrist Gil J. Wolman in their 1956 manifesto “A User’s Guide to Détournement.” According to Debord and Wolman, détournement seeks not only to negate or refute the original meaning of earlier works but also to turn around (pervert) their meaning in a critical sense. In this way, they acknowledge the precedence of the subversive plagiarism of Comte de Lautréamont, who sought in
As early as 1956, in “A User’s Guide to Detournement”, Debord and Situationist collaborator Gil J. Wolman had argued that film, whose “extensive powers” have gone “glaringly under-coordinated”, is the single most conducive mechanism for “effective and beautiful” detournement.
And it is very practical because it’s so easy to use and because of its inexhaustible potential for reuse. Concerning the negligible effort required for détournement, we have already noted that “the cheapness of its products is the heavy artillery that breaks through all the Chinese walls of understanding” ( A User’s Guide to Détournement , May 1956).