Society of Revolt: the evolution from the ‘Society of the Spectacle’ to the ‘Revolt of the Public’
Although written decades apart, Guy Debord’s “Society of the Spectacle” and Martin Gurri’s “The Revolt of the Public” address similar topics: the influence of the media and its impact on collective actions against authorities. Technology plays a central role in both works, albeit in different ways. In “Society of the Spectacle” technology is portrayed as a tool of manipulation and control, protecting the status quo. In “The Revolt of the Public” technology is a tool used to topple the status quo, empowering individuals to challenge established sources of authority and organise collective action.
“Society of the Spectacle” asserts that genuine human experience has been replaced by representations. According to Debord, the Spectacle is perpetuated through media and advertising to maintain the status quo by promoting images and narratives that serve the interests of those in power. Debord is anti-authoritarian and anti-hierarchical, rejecting centralised forms of power in favour of decentralised, autonomous modes of organisation. He envisions a society where individuals are free to participate fully in the decision-making process rather than just being passive consumers of illusions crafted by those in power.
“The Revolt of the Public” explores the disruptive force of technology on the public’s regard for established institutions and authority structures. Social media promotes transparency and accountability by providing a platform for the free distribution of information and feedback. Instead of relying on centralised authorities or institutions, individuals can self-organise and coordinate actions autonomously within their networks. In this new landscape, authorities find themselves accountable, besieged by critiques and repudiations. The hierarchical status quo stands vulnerable to the scrutiny of the public. Every mistake and every misstep of the elites who run the system is exposed to the unforgiving light of social media. This crisis of authority extends beyond politics to encompass all institutions, from media to academia, as the public grows increasingly sceptical of top-down hierarchies.
From Debord’s perspective, the crisis of authority represents a rupture in the smooth functioning of the Spectacle, a disruption of the scripted narratives and images that maintain the illusion of stability and control. Social media facilitates communication across geographic boundaries, information sharing, and the planning of social unrest. — functions that are consistent with Debord’s appeal for revolutionary praxis. Moreover, Debord would recognise the potential of social media to create situations — interventions in everyday life that provoke critical reflection and inspire collective action. These situations, whether spontaneous uprisings or organised protests, have the power to shatter the illusions of the Spectacle.
However, amidst this sea of actions and reactions, there is a danger of descending into nihilism. The rejection of authority, while powerful, must be accompanied by a constructive vision for the future. Merely tearing down institutions without building viable alternatives risks plunging society into chaos. Debord believed that the Spectacle has a remarkable capacity to absorb and neutralise dissent, turning acts of rebellion into mere spectacles for mass consumption. Therefore, I imagine he would advocate for a vigilant and critical approach, mindful of the potential to reinforce the dominant narratives of the spectacle or replace the current situation with one that was even worse. As Gurri cautions, the “public is not the people, but likes to pretend that it is.” An example of this are the populist politicians who repudiate the establishment and exploit people’s fears without offering any viable solutions.
In conclusion, the unintended transparency of the elites has unleashed a wave of discontent and unrest. As the public gains access to information previously monopolised by authority, the foundations of the old order are shaken to their core. Yet, in this moment of upheaval, there is an opportunity for renewal — a chance to reimagine society as Guy Debord envisaged, where individuals have the power to govern their own lives and communities.
references
Debord, G. (1992). Society of the spectacle. Rebel Press, London.
Gurri, M. (2018). The Revolt of The Public and the Crisis of Authority in the New Millennium. Stripe Press.
