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.

In our society now, we prefer to see ourselves living than living.

Among the small number of things that I have liked and known how to do well, what I have assuredly known how to do best is drink. Even though I have read a lot, I have drunk even more. I have written much less than most people who write; but I have drunk much more than most people who drink.

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.

I have written much less than most people who write; I have drunk much more than most people who drink.

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.

None of the activity stolen by work can be regained by submitting to what work has produced. - The Society of The Spectacle