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

What appears is good; what is good appears.

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

All that once was directly lived has become mere 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.

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

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