Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior.

In societies where modern conditions of productions prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation. The images detached from every aspect of life fuse in a common stream in which the unity of this life can no longer be re-established. Reality considered partially unfolds, in its own general unity as a pseudo-world apart, an object of mere contemplation . . . The spectacle is not a collection of images, but a social relation among people, mediated by images.

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.

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.

Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior.

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

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