The loss of quality that is so evident at every level of spectacular language, from the objects it glorifies to the behavior it regulates, stems from the basic nature of a production system that shuns reality. The commodity form reduces everything to quantitative equivalence. The quantitative is what it develops, and it can develop only within the quantitative.

Boredom is always counter-revolutionary. Always.

The spectacle is the bad dream of a modern society in chains and ultimately expresses nothing more than its wish for sleep. The spectacle is the guardian of that sleep.

Images detached from every aspect of life merge into a common stream, and the former unity of life is lost forever. Apprehended in a partial way, reality unfolds in a new generality as a pseudo-world apart, solely as an object of contemplation. The tendency toward the specialization of images-of-the-world finds its highest expression in the world of the autonomous image, where deceit deceives itself. The spectacle in its generality is a concrete inversion of life, and, as such the autonomous movement of non-life.

Young people everywhere have been allowed to choose between love and a garbage disposal unit. Everywhere they have chosen the garbage disposal unit.

Behind the masks of total choice, different forms of the same alienation confront each other.

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