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“The new towns of the 1950s and '60s were nothing less than the spatial translation of alienation and control and in these cities power increasingly could relinquish the old forms of advertising in favor of 'the simple organization of the spectacle of objects of consumption, which will only have consumable value illusory to the extent to which they will first of all have been objects of spectacle' -- to the extent, that is, they have first appeared on the television screen, which henceforth had to be seen as an urbanistic tool in its own right.”

Quote by Tom McDonough

Book:The Situationists and the City: A Reader
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The Situationists and the City: A Reader

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Tom McDonough

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“We are leading as thorough a study of 'alienation's positive pole' as of its negative pole. As a consequence of our diagnosis of the poverty of wealth, we are able to establish the world map of the extreme wealth of poverty. These speaking maps of a new topography will be in fact the first realization of 'human geography.' On them we will replace oil-deposits with the contours of layers of untapped pedestrian consciousness.”

WalkingCitySituationistPedestrian165
Book:The Situationists and the City: A Reader
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“4. Radicalism of forms. If a new model once created meets with much success on account of its greater efficiency than its predecessor, it lends certain neighbouring forms a formal radicalism, which attempts to borrow from the appearance of the new form: for example, bronze tools that had reached the furthest development of their utility had a disastrous influence on stone tools, warping them toward an elegance that could only be attained in bronze. Today aviation has imposed its aerodynamic forms even on baby strollers and irons. This radicalism of forms is a result of the fact that people become bored when they do not find some unexpected element in the familiar. This radicalism might seem illogical, as the advocates of standardization believe, but we must not forget that discovery is only made possible by this need of humanity.”

FormDesignSituationist56
Book:The Situationists and the City: A Reader
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“At the very opposite of these eccentricities, the chiefly urban character of derive, in touch with those centres of possibilities and meanings that are the metropolises transformed by industry, would correspond to Marx's sentence: 'Men can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive.”

Situationist80Derive
Book:The Situationists and the City: A Reader
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“The noble old synagogue had been profaned and turned into a stable by the Nazis, and left open to the elements by the Communists, at least after they had briefly employed it as a 'furniture facility.' It had then been vandalized and perhaps accidentally set aflame by incurious and callous local 'youths.' Only the well-crafted walls really stood, though a recent grant from the European Union had allowed a makeshift roof and some wooden scaffolding to hold up and enclose the shell until further notice. Adjacent were the remains of a mikvah bath for the ritual purification of women, and a kosher abattoir for the ritual slaughter of beasts: I had to feel that it was grotesque that these obscurantist relics were the only ones to have survived. In a corner of the yard lay a pile of smashed stones on which appeared inscriptions in Hebrew and sometimes Yiddish. These were all that remained of the gravestones. There wasn't a Jew left in the town, and there hadn't been one, said Mr. Kichler, since 1945.”

ReligionCommunismWorld War IiAnimalsJudaismEuropean UnionHebrewRelicsJewsNazisRitualsYiddishVandalism1945ObscurantismSynagoguesAnimal SacrificeTombstonesDesecrationWomen And ReligionWroclawAbattoirsAnimal SlaughterJerzy KichlerMikvahsWhite Stork SynagogueWomen In Judaism
Book:Hitch 22: A Memoir
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“This combination of parody and seriousness reflects the contradictions of an era in which we find ourselves confronted with both the urgent necessity and the near impossibility of initiating and carrying out a totally innovative collective action-an era in which the most serious ventures are masked in the ambiguous interplay between art and its necessary negation, and in which the essential voyages of discovery have been undertaken by such astonishingly incapable people.”

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Author:Situationist International (English Section)
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“The house stood high on the peninsula of Vaucluse, three stories tall with a turret on one side. It had been built in the middle of the nineteenth century, when Jess's great-great-great-grandfather arrived in the colony of New South Wales, and had been featured in several glossy books about architecture that her grandmother kept open on the display tables in the library. Inside it was entirely unpredictable: unexpected doorways led to hidden staircases that wound around brick chimneys and allowed a person to arrive in a vastly different part of the house from that which they'd left.”

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Book:Homecoming
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