The more he identifies with the dominant images of need, the less he understands his own life and his own desires. The spectacle’s estrangement from the acting subject is expressed by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.

The spectacle is not a collection of images, but a social relation among people, mediated by images.

Art... can become the direct organization of more highly evolved sensations.

The spectacle is capital accumulated to the point where it becomes image.

The advertisements during intermissions are the truest reflection of an intermission from life.

With the destruction of history, contemporary events themselves retreat into a remote and fabulous realm of unverifiable stories, uncheckable statistics, unlikely explanations and untenable reasoning.

In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.