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.

As specialists of apparent life, stars serve as superficial objects that people can identify with in order to compensate for the fragmented productive specialisations that they actually live.

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.

Everyone accepts that there are inevitably little areas of secrecy reserved for specialists; as regards things in general, many believe they are in on the secret.

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

Art need no longer be an account of past sensations. It can become the direct organization of more highly evolved sensations. It is a question of producing ourselves, not things that enslave us.

In a world that has REALLY been turned on its head, truth is a moment of falsehood.