The touchstones of Marxist-Situationist theory are these:
A) That all forms of capitalist society, be they corporate or bureaucratic, are in the final analysis based on the generalized and — at the level of the masses — stable division between directors and executants: those who give orders and those who carry them out.
B) That subsequent to the total domination and colonialization of nature by technology (a victory that freed mankind from having to struggle to survive), the directorate, its hand forced by capitalism’s need to locate and exploit new raw materials and new markets for its products, began its domination and colonialization of human nature. The only other alternative was for the directorate to admit that the battle against nature had been won and that the directorate itself was no longer necessary or even desirable.
C) That the domination and colonialization of human nature took the form of a consumption-based society, rather than a production-based society; this “new” society the Situationists called the society of the spectacle.
D) That the alienation which, in the 19th century, was rooted in economic misery had, in the 20th century, become located in false consciousness.
E) That this false consciousness believes that “everyday life” (i.e., one’s personally selected ensemble of commodities and ideologies) is separate from “history” (i.e., the sum total of that which is accomplished at and by work). And
F) That the society of the spectacle perpetuates itself by compensating those denied the opportunity to make history with more and more commodities, all of which are fundamentally unsatisfying because the ideology of survival remains coded within them.
The touchstones of Marxist-Situationist practice are these:
A) That during the 1910 to 1925 period, in the form of dadaism and surrealism, modern art had already revealed and, on the plane of ideas, destroyed the workings of the society of the spectacle.
B) That the failure of modern art, on the plane of actions, to make good its promise to destroy spectacular society is inseparable from the failure of the workers’ movement of that same era.
C) That post-surrealist modern art, if it doesn’t link up with the workers’ movements of the current era, cannot help but be boring, sterile and openly apologetic for multinational capitalism.
D) That there is most definitely a modern workers’ movement; the problem is that clinging to outdated notions of who the modern proletariat is prevents everyone from seeing what it is doing.
E) That the modern proletariat, which more often than not revolts out of boredom, does not yet know that it encompasses nearly everyone. And
F) That, when situations are constructed (this is the derivation of the term “Situationist”) in which the freedom of modern art is put into practice, the modern proletariat will come to know what it truly is and will realize that it wants to live modern freedom rather than be a spectator of it.
Source: Not Bored! (1983)