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.

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.

Work is only justified by leisure time. To admit the emptiness of leisure time is to admit the impossibility of life.

The more powerful the class, the more it claims not to exist.

... just as early industrial capitalism moved the focus of existence from being to having, post-industrial culture has moved that focus from having to appearing.

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.

He will essentially follow the language of the spectacle, for it is the only one he is familiar with.