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.

"A thoughtful treatise on how popular representations of nature, through entertainment and tourism, shape how we imagine environmental problems and their solutions"--Provided by publisher.

Eighteen-year-old Nathalie Baudin, ever-curious reporter at the Paris morgue, is no stranger to death—even discounting the supernatural visions that give her disturbing glimpses into the minds of killers. Paris, 1889. When the Exposition Universelle opens in Paris, Nathalie welcomes a much-needed break from the heartache of her friend's murder. The fair is full of sensational innovations, cultural displays, and marvelous inventions from around the world. But someone is celebrating the 100th anniversary of the guillotine with a gruesome display of their own: beheaded victims in some of the Exposition’s most popular exhibits. Haunted by the past and burdened with new secrets, Nathalie struggles to use her wits and her gift. Yet she and her friends must stop the killer before the macabre display features one of them... At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Spectacle 2.0 recasts Debord's theory of spectacle within the frame of 21st century digital capitalism. It offers a reassessment of Debord’s original notion of Spectacle from the late 1960s, of its posterior revisitation in the 1990s, and it presents a reinterpretation of the concept within the scenario of contemporary informational capitalism and more specifically of digital and media labour. It is argued that the Spectacle 2.0 form operates as the interactive network that links through one singular (but contradictory) language and various imaginaries, uniting diverse productive contexts such as logistics, finance, new media and urbanism. Spectacle 2.0 thus colonizes most spheres of social life by processes of commodification, exploitation and reification. Diverse contributors consider the topic within the book’s two main sections: Part I conceptualizes and historicizes the Spectacle in the context of informational capitalism; contributions in Part II offer empirical cases that historicise the Spectacle in relation to the present (and recent past) showing how a Spectacle 2.0 approach can illuminate and deconstruct specific aspects of contemporary social reality. All contributions included in this book rework the category of the Spectacle to present a stimulating compendium of theoretical critical literature in the fields of media and labour studies. In the era of the gig-economy, highly mediated content and President Trump, Debord’s concept is arguably more relevant than ever.

A stunning work on contemporary fashion spectacles, showcasing the most innovative, creative, and artistic high-fashion runway shows of the last twenty years. In recent years, as fashion shows have become a part of our collective imagination and an important part of contemporary culture, blockbuster productions have redefined the runway show as a form of entertainment and creativity on par with the clothes themselves. This book focuses on designers for whom fashion and the mode of presenting it have held equal significance: Alexander McQueen, Martin Margiela, Hussein Chalayan, Viktor & Rolf, Marc Jacobs, Karl Lagerfeld at Chanel, Raf Simons, Thom Browne, and Imitation of Christ, among them. From the performance art spectacles of the first Alexander McQueen collections in the mid-1990s and the high-art concept shows of Hussein Chalayan in the late 1990s to the lavish beauty of Chanel haute couture in 2012, author Alix Browne explores the highest pinnacles of fashion today. Runway gives the reader full access to the theatrical and creative aspects of the production, in both intimate, little-seen runway shows from the pre-Internet era—many of the photographs here have never been published before—as well as major productions with elaborate sets and full-blown narrative. A thrilling, immersive, and inspiring look into the wide-ranging creativity of contemporary fashion, Runway is the most thorough book available on the subject. Featuring the most innovative fashion designers of the last twenty years, this book is a must for lovers of fashion and culture.

Poetry. Photography. Jia Oak Baker's stunning photographs of Flesh Cactus, a discarded punk-rock-skateboard-video-prop-mask, and Shawnte Orion's sardonic, pop culture-infused poetry make the strange world of GRAVITY & SPECTACLE. It is a slanted ode to Phoenix and its surrounding deserts, both gorgeous and absurd, stoic and wry, gravitational and spectacular, a "love letter to the fireplace" of a hometown seen through the lens and the pens of two of its inhabitants.

"Develops a geographic approach to the politics of spectacle and its unspectacular Others through examining recent spectacular capital city development projects in seven authoritarian, resource-rich states of Central Asia, the Arabian Peninsula, and East Asia"--