“Amongst the best was Andrew Boyd’s compendium-like Beautiful Trouble which brought together some of the most imaginative elements of a movement influenced by a mix of non-violent direct action and the public drama of situationism.”Mark Perryman, The Substantive
“Boredom is always counter-revolutionary. Always.”Guy Debord
To be politically effective, activists need to engage in spectacle. By keeping to certain principles, our spectacles can be ethical, emancipatory, and faithful to reality.
The concept of ethical spectacle offers a way of thinking about the tactical and strategic use of signs, symbols, myths, and fantasies to advance progressive, democratic goals. First introduced in a 2004 article by Andrew Boyd and Stephen Duncombe and later expanded in Duncombe’s 2007 book Dream, the theory’s premises are: (1) that politics is as much an affair of desire and fantasy as it is reason and rationality, (2) that we live in an intensely mediated age (what Situationist Guy Debord called the Society of the Spectacle), (3) that in order to be politically effective, activists need to enter the realm of spectacle, and (4) that spectacular interventions have the potential to be both ethical and emancipatory.
An ethical spectacle is a symbolic action that seeks to shift the political culture toward more progressive values. An ethical spectacle should strive to be:
Participatory: Seeking to empower participants and spectators alike, with organizers acting as facilitators.
Open: Responsive and adaptive to shifting contexts and the ideas of participants.
Transparent: Engaging the imagination of spectators with out seeking to trick or deceive.
Realistic: Using fantasy to illuminate and dramatize real-world power dynamics and social relations that otherwise tend to remain hidden in plain sight.
Utopian: Celebrating the impossible — and therefore helping to make the impossible possible.
Progressives tend to distrust anything that smacks of propaganda or marketing — that’s what the other side does. We tend to believe that proclaiming the naked Truth is enough: “Ye shall know the truth, and the truth shall set you free.” But waiting for the truth to set us free is lazy politics. The truth does not reveal itself by virtue of being the truth: it must be told, and told well. It must have stories woven around it, works of art made about it; it must be communicated in new and compelling ways that can be passed from person to person, even if this requires flights of fancy and new mythologies. The argument here is not for a progressive movement that deceives or cheapens its message but rather for a propaganda of the truth. This is the work of ethical spectacle.