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project completely on the evasion of this recuperation. Five years of agitation against capital, war and morality, brought them to an impasse of suicide or silence. Everything the Dadaists made, said, wrote or performed seemed to be turned against its critical purpose and used against them- and they abandoned the project. Effectively, they went on strike.

The Dadaists left a legacy in the form of recuperated, commodified art works, and in multiple imitations of their style and attitude. Their advocation of collage and photomontage is now everywhere in advertisements, their paradoxically anti-art art surely at the very heart of current post-modernist critical theory. They were correct in their belief that this capitalist appropriation was inevitable while they were merely producing, and not controlling the means of production, but in some ways, they did in fact constitute a challenge to bourgeois morality. Dadaism questioned the philosophical assumptions which justified smug bourgeois attitudes, and uncovered the hypocracy of World War 1's brutality legitimising propaganda. In the end they felt that their subversions of established values were merely contributing too much to the culture they had been trying to undermine. The Situationist Asger Jorn was emphatic about the failure of Marxist theory, to liberate of art from commodification,

“Instead of abolishing the private character of property, socialism does nothing but augment them as much as possible, rending humans themselves useless and socially non-existent. The goal of the development of artistic liberation is the liberation of human values by the transformation of human qualities into real values. Here begins the artistic revolution against socialist development, the artistic revolution that is tied to the communist project . . .”

德波和情境画家对资本主义的反应——Debord and the Situationist reaction to Capitalism

Debord's 1967 book The Society of the Spectacle, represented an attempt to articulate as fully as possible the Situationist philosophy. The term 'spectacle' refers to the colonization of everyday life by commodity in late capitalism, an extension of alienation experienced between production and consumption. The spectacle's subjective, one-directional effect requires a kind of non-participation, eventually resulting in a breakdown of communication between people. Situationism distinguishes between classical and modern forms of capitalism. Where classical capitalism demanded that 'wasted time' describes any time not spent at work, modern capitalism actually reverses that, using advertising and other spectacular means to declare that it is the time spent at work that is wasted, and work is justifiable only because it provides the monetary ability to consume. Marx wrote that,

'the worker feels at home when he is not working, and when he is working he does not feel at home' The Situationists describe the spectacular society as a place where, 'the spectator feels at home nowhere, for the spectacle is everywhere' . As Debord himself explains,

'So long as the realm of necessity remains a social dream, dreaming will remain a social necessity. The spectacle is the bad dream of modern society in chains, expressing nothing more than its wish for sleep. The spectacle is guardian of that sleep' .

However, the spectacle was not unique to capitali本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。