A lively new polemic about the concepts “one divides into two” and “two fuse into one” is unfolding on the philosophical front in this country. This debate is a struggle between those who are for and those who are against the materialist dialectic, a struggle between two conceptions of the world: the proletarian conception and the bourgeois conception. Those who maintain that “one divides into two” is the fundamental law of things are on the side of the materialist dialectic; those who maintain that the fundamental law of things is that “two fuse into one” are against the materialist dialectic. The two sides have drawn a clear line of demarcation between them, and their arguments are diametrically opposed. This polemic is a reflection, on the ideological level, of the acute and complex class struggle taking place in China and in the world.
——Red Flag, (Peking), 21 September 1964
关于”一分为二”和”合二为一”概念的这一新的热烈争论, 正成为中国社会的哲学前沿问題。这场争论是一场斗争, 一场支持和反对唯物主义辩证法者之间的斗争, 一场资产阶级观念和无产阶级观念之间的斗争。那些坚持”一分为二”的人站到唯物主义辩证法基本原理的立场上; 那些坚持事物的基本原理是”合二为一”的人反对唯物主义辩证法。两派界限分明, 论点截然对立。这场争论是正在中国和世界各地发生的在意识形态层面上, 尖锐复杂的阶级斗争的一种反映。
——《红旗》杂志, 北京, 1964年9月21日
54. The spectacle, like modern society, is at once unified and divided. Like society, it builds its unity on the disjunction. But the contradiction, when it emerges in the spectacle, is in turn contradicted by a reversal of its meaning, so that the demonstrated division is unitary, while the demonstrated unity is divided.
景观, 像现代社会自身一样, 是即刻分裂(divisé)和统一的。每次统一都以剧烈的分裂为基础。但当这一矛盾显现在景观中时, 通过其意义的倒转它自身也是自相矛盾的: 展现分裂的是统一, 同时, 展现统一的是分裂。
55. The struggle of powers constituted for the management of the same socio-economic system is disseminated as the official contradiction but is in fact part of the real unity–on a world scale as well as within every nation.
尽管据官方说, 控制同一社会经济制度不同力量之间的斗争表现为一种不可调和的对抗性。但实际上, 不但在国际之间, 而且在每一个国家内部, 它们都反映了这一制度的根本统一。
56. The spectacular sham struggles of rival forms of separate power are at the same time real in that they translate the unequal and antagonistic development of the system, the relatively contradictory interests of classes or subdivisions of classes which acknowledge the system and define themselves as participants within its power. Just as the development of the most advanced economy is a clash between some priorities and others, the totalitarian management of the economy by a State bureaucracy and the condition of the countries within the sphere of colonization or semi-colonization are defined by specific peculiarities in the varieties of production and power. These diverse oppositions can be passed off in the spectacle as absolutely distinct forms of society (by means of any number of different criteria). But in actual fact, the truth of the uniqueness of all these specific sectors resides in the universal system that contains them: the unique movement that makes the planet its field, capitalism.
在分离力量对抗之间的景观的虚假斗争同时又是真实的, 因为它们表达了一种曲折的和充满冲突的发展, 或多或少表达了阶级利益或部分的阶级矛盾和利益, 这些阶级已经接受了这一制度, 并在这一制度内为他们自己努力开辟一条通道。正如最先进经济的发展卷入了不同优先权之间的冲突, 极权主义国家宫僚政治的经济管理形式和在殖民主义和半殖民主义控制之下的国家也显示出了生产和权力的极其不同的类型。通过诉诸许多相异的标准, 景观能够将这些相互对立的事物, 作为截然不同的社会体系完整地展示出来, 但实际上它们只是一个特定的部分, 一个本质上属于包含它们的全球体系的特定部分, 这一体系只有一种单一的运动: 即将整个地球都转化为资本主义运动的场地。
57. The society which carries the spectacle does not dominate the underdeveloped regions by its economic hegemony alone. It dominates them as the society of the spectacle. Even where the material base is still absent, modern society has already invaded the social surface of each continent by means of the spectacle. It defines the program of the ruling class and presides over its formation, just as it presents pseudo-goods to be coveted, it offers false models of revolution to local revolutionaries. The spectacle of bureaucratic power, which holds sway over some industrial countries, is an integral part of the total spectacle, its general pseudo-negation and support. The spectacle displays certain totalitarian specializations of communication and administration when viewed locally, but when viewed in terms of the functioning of the entire system these specializations merge in a world division of spectacular tasks.
实现了景观的社会不能单单借助于它的经济霸权统治不发达的地区, 它还要作为景观社会统治它们。即使不发达地区的物质基础仍然是缺乏的, 现代社会还是通过景观侵蚀进每一个大陆的社会表面, 它已为本上统治阶级的形成和设计其议程创造了条件, 正如它向垂涎它的人献上假冒商品, 它也向地方革命家提供虚假的革命模式一样。在特定工业化国家执政的官僚政治政体有它们自身持定的景观类型, 但是起着虚假反对和实际支持作用的官僚政治政体是全球景观的一个有机构成部分。即使景观的地方表现形式包含着控制和沟通的特定的极权主义的专门化, 从这一系统整体机能的立场看, 在景观任务(tȧches spectaculaires)的全球分工中, 这些专门化只不过扮演了他们被分派的角色。
58. The division of spectacular tasks preserves the entirety of the existing order and especially the dominant pole of its development. The root of the spectacle is within the abundant economy the source of the fruits which ultimately take over the spectacular market despite the ideological-police protectionist barriers of local spectacles aspiring to autarchy.
虽然这一景观分工的任务, 总体上保护了现存秩序, 但它更主要是保护了它居支配性地位的发展的一极。景观扎根于丰裕经济的沃土之中, 这一经济的结果最终统治了景观市场, 并跨越了由地方性景观假借独立自主之口建立的意识形态的或极权国家的贸易保护主义壁垒。
59. Under the shimmering diversions of the spectacle, banalization dominates modern society the world over and at every point where the developed consumption of commodities has seemingly multiplied the roles and objects to choose from. The remains of religion and of the family (the principal relic of the heritage of class power) and the moral repression they assure, merge whenever the enjoyment of this world is affirmed–this world being nothing other than repressive pseudo-enjoyment. The smug acceptance of what exists can also merge with purely spectacular rebellion; this reflects the simple fact that dissatisfaction itself became a commodity as soon as economic abundance could extend production to the processing of such raw materials.
在景观娱乐的灿烂光环背后, 一种平庸化(banalisation)的趋势支配着现代社会, 即使在这里, 商品消费更加发达的形式仿佛又增加了多种多样可供选择的角色和对象。宗教和家庭的残余(家庭仍然是传递阶级力量的主要机构)与这一世俗满足的虚夸自负相混合, 因为在这一特定世界的生活, 依然保留着压抑并提供虚假满足。也许对现状自鸣得意的认同和景观造反是共存的——一旦丰裕经济发现了将其生产方法运用于特殊原料的方式, 令人不满的事物本身就变成了一件商品。
60. The celebrity, the spectacular representation of a living human being, embodies this banality by embodying the image of a possible role. Being a star means specializing in the seemingly lived; the star is the object of identification with the shallow seeming life that has to compensate for the fragmented productive specializations which are actually lived. Celebrities exist to act out various styles of living and viewing society unfettered, free to express themselves globally. They embody the inaccessible result of social labor by dramatizing its by-products magically projected above it as its goal: power and vacations, decision and consumption, which are the beginning and end of an undiscussed process. In one case state power personalizes itself as a pseudo-star; in another a star of consumption gets elected as a pseudo-power over the lived. But just as the activities of the star are not really global, they are not really varied.
媒体明星，作为一个活生生的人类存在的景观代表, 通过一种可能角色形象的对象化体现了一种普遍的陈腐和平庸。作为一个表面生活(vécu apparent)的专家, 明星是那些补偿他们自己真实生活的碎片化和生产专门化的人们所认同的表面化生活的证明物。名人的功能就是以一种全面的、完全自由的风格, 实践多种多样的生活方式和社会政治观点。他们通过戏剧化表现的社会劳动成果的副产品, 体现了常人难以达及的社会劳动的成果, 这一社会劳动成果的副产品竞魔法般地将自己置于社会劳动成果之上, 并作为它的终极目标: 权力和休闲——决策和消费是这一永远不被置疑的过程的主要部分。一方面，政府的权力可以将自身人格化为一个伪明星; 另一方面消费明星又可认可自己为超越生活之上的伪权力。但这些明星的活动并不是真正自由的, 他们也不可能提供任何真实的选择。
61. The agent of the spectacle placed on stage as a star is the opposite of the individual, the enemy of the individual in himself as well as in others. Passing into the spectacle as a model for identification, the agent renounces all autonomous qualities in order to identify himself with the general law of obedience to the course of things. The consumption celebrity superficially represents different types of personality and shows each of these types having equal access to the totality of consumption and finding similar happiness there. The decision celebrity must possess a complete stock of accepted human qualities. Official differences between stars are wiped out by the official similarity which is the presupposition of their excellence in everything. Khrushchev became a general so as to make decisions on the battle of Kursk, not on the spot, but at the twentieth anniversary, when he was master of the State. Kennedy remained an orator even to the point of proclaiming the eulogy over his own tomb, since Theodore Sorenson continued to edit speeches for the successor in the style which had characterized the personality of the deceased. The admirable people in whom the system personifies itself are well known for not being what they are; they became great men by stooping below the reality of the smallest individual life, and everyone knows it.
像明星一样, 在舞台表演的景观代理人与个人是矛盾的; 非常明显, 他是自己个性的敌人和是他人个性的敌人, 这是一样的。为了作为一个典型进入景观而被认同, 为了将自己认同为顺从物的过程的一般法则, 景观代理人拒绝了所有自主(autonome)的品质。尽管从表面上看消费明星代表了不同的个性类型, 但实际上消费明星展示的每一种个性类型都享有同等进入整个消费王国的权力, 都有源自于整个消费王国的同样的幸福。判定一个名人必须看他是否拥有公认的人类品质的全部声誉。明星之间的正式差异, 被预想的他们在一切事情都是优秀的这种无可逃避之暗示的官方相似性所抹杀。作为政府首脑, 为了对库尔斯克战役的后果负责, 赫鲁晓夫不得不成为一个将军——当然这不是在战场上, 而是在二十年之后。作为演说家生还的肯尼迪已达到这样的程度, 以致他正在发表自己的葬礼演说词, 因为西奥多 · 索伦森(Theodore Sorenson)作为他的继任者, 正以同样的风格持续地写作演讲词, 这一风格就是他创造出一种以己辞世的人的角色进行的演讲。那些赋予这一制度以人性的、值得赞美的人们之闻名于世, 并不是因为他们仿佛所是的那样; 他们成为伟人是因为他们都事功于最渺小的个人生活的现实, 并且他们每个人都清楚这一点。
62. False choice in spectacular abundance, a choice which lies in the juxtaposition of competing and complimentary spectacles and also in the juxtaposition of roles (signified and carried mainly by things) which are at once exclusive and overlapping, develops into a struggle of vaporous qualities meant to stimulate loyalty to quantitative triviality. This resurrects false archaic oppositions, regionalisms and racisms which serve to raise the vulgar hierarchic ranks of consumption to a preposterous ontological superiority. In this way, the endless series of trivial confrontations is set up again. from competitive sports to elections, mobilizing a sub-ludic interest. Wherever there is abundant consumption, a major spectacular opposition between youth and adults comes to the fore among the false roles–false because the adult, master of his life, does not exist and because youth, the transformation of what exists, is in no way the property of those who are now young, but of the economic system, of the dynamism of capitalism. Things rule and are young; things confront and replace one another.
由景观丰裕提供的虚假选择, 发展成了强烈忠诚于数量琐事的虑幻品质的斗争, 这一虚假选择以至今互相强化的景观竞争的叠加为基础, 以至今明显相互联系的角色叠加为基础(角色主要通过物来象征和体现)。虚假陈旧的对立——地方主义和种族主义被复活, 地方主义和种族主义在消费体制中有助于赋予世俗等级一种具有不可思议魔力的本体论上的优越感, 并且从竞赛性的运动到选举, 通过一种永无休止的滑稽荒唐的竞赛和竞争, 伪娱乐和嬉戏的狂热被唤醒。无论在那里, 丰裕的消费被建立, 一种特定的景观的对立: 即成年人和青年人之间的对抗就总是处于虚假角色的最前线。但实际上, 真正的成年人作为自己生活的主人, 在任何地方都没有被发现过。现实存在的青年人的变革绝不是那些当代青年的特征; 青年只是表现在经济制度中, 表现在资本主义的活力中。这一资本主义的动力就是: 物的统治和永远年轻; 物的竞争和相互替代。
63. What hides under the spectacular oppositions is a unity of misery. Behind the masks of total choice, different forms of the same alienation confront each other, all of them built on real contradictions which are repressed. The spectacle exists in a concentrated or a diffuse form depending on the necessities of the particular stage of misery which it denies and supports. In both cases, the spectacle is nothing more than an image of happy unification surrounded by desolation and fear at the tranquil center of misery.
景观对立遮蔽了一种贫困的统一(l’unité de la misère)。如果同一异化的不同表现形式借不可调和的对抗性的幌子彼此斗争, 这只是因为他们全部以被压抑的真实矛盾为基础。依赖它拒绝而又支持的贫困的特殊阶段的必然性, 景观以一种集中和弥散的形式而存在。在这两种情况下, 景观不过是在平静的贫困中心被忧伤和恐惧所包围的一种幸福和谐的影像。
64. The concentrated spectacle belongs essentially to bureaucratic capitalism, even though it may be imported as a technique of state power in mixed backward economies or, at certain moments of crisis, in advanced capitalism. In fact, bureaucratic property itself is concentrated in such a way that the individual bureaucrat relates to the ownership of the global economy only through an intermediary, the bureaucratic community, and only as a member of this community. Moreover, the production of commodities, less developed in bureaucratic capitalism, also takes on a concentrated form: the commodity the bureaucracy holds on to is the totality of social labor, and what it sells back to society is wholesale survival. The dictatorship of the bureaucratic economy cannot leave the exploited masses any significant margin of choice, since the bureaucracy itself has to choose everything and since any other external choice, whether it concern food or music, is already a choice to destroy the bureaucracy completely. This dictatorship must be accompanied by permanent violence. The imposed image of the good envelops in its spectacle the totality of what officially exists, and is usually concentrated in one man, who is the guarantee of totalitarian cohesion. Everyone must magically identify with this absolute celebrity or disappear. This celebrity is master of non-consumption, and the heroic image which gives an acceptable meaning to the absolute exploitation that primitive accumulation accelerated by terror really is. If every Chinese must learn Mao, and thus be Mao, it is because he can be nothing else. Wherever the concentrated spectacle rules, so does the police.
集中的景观从根本上与官僚政治资本主义相联系。尽管作为一种技术, 它也许是为了在落后的混合经济中强化国家权力而被引入的, 或者是在发达资本主义的特定危机时期被采用的。官僚政治所有权本身就是集中的, 因为个别官僚主义者在官僚政治共同体内, 只能以其官僚主义者的成员资格参与到全部经济所有权之中。商品生产在官僚政治资本主义社会较少发展, 它同样也采取了一种集中的形式: 被官僚机构把持的商品是整个社会的全部劳动, 它出售给往会的是社会的大批残余物。官僚政治经济的专政, 不可能对被剥削大众留下任何一次重要选择的余地, 因为它必须选择一切事情, 它独立做出自己的全部选择, 无论这一选择是关于食物、音乐还是其他任何东西, 因此, 这意昧着它自己向自己宣战。这一专政必然伴随着持久的暴力。官僚政治景观利用一种官方声明, 说明了包含一切现存事物的好形象, 这一好形象常常集中于某一单独的个人身上, 这个人成为极权主义凝聚力的保证人。每一个入必须不可思议地将自己或认同为绝对的名人或无声的消失。这个每一个其他人的非消费的主人是一个英雄的形象, 这种英雄形象掩盖了由恐怖所促进的这一制度的原始积累所引起的绝对剥削。如果每一个中国人必须学习毛泽东, 并因而成为毛泽东, 那是因为他能变得什么都不是。哪里集中最观在统治, 哪里也就是警察在统治。
65. The diffuse spectacle accompanies the abundance of commodities, the undisturbed development of modern capitalism. Here every individual commodity is justified in the name of the grandeur of the production of the totality of objects of which the spectacle is an apologetic catalogue. Irreconcilable claims crowd the stage of the affluent economy’s unified spectacle; different star-commodities simultaneously support contradictory projects for provisioning society: the spectacle of automobiles demands a perfect transport network which destroys old cities, while the spectacle of the city itself requires museum-areas. Therefore the already problematic satisfaction which is supposed to come from the consumption of the whole, is falsified immediately since the actual consumer can directly touch only a succession of fragments of this commodity happiness, fragments in which the quality attributed to the whole is obviously missing every time.
弥散的景观与商品的丰裕相联系, 与现代资本主义不受干扰的发展相联系。这里的每个个别的商品, 都凭全部商品产品庄严伟大之权威, 都借景观赞美的商品目录之美名被证明是正当的。各种矛盾的要求在富裕经济的统一景观舞台上谋求有利位置, 并且, 不同的名牌商品同时促进了相互冲突的社会政策: 汽车景观要求摧毁老城区以完善交通网络, 而城市景观自身又要求保留老城区变为博物馆。因此, 声称源自于整体消费的成问题的满足在起点上就是让人失望的, 因为真实的消费者只能在这一商品天堂的一系列碎片中如鱼得水, 而这一系列碎片却总是缺乏属于其整体的品质。
66. Every given commodity fights for itself, cannot acknowledge the others, and attempts to impose itself everywhere as if it were the only one. The spectacle, then, is the epic poem of this struggle, an epic which cannot be concluded by the fall of any Troy. The spectacle does not sing the praises of men and their weapons, but of commodities and their passions. In this blind struggle every commodity, pursuing its passion, unconsciously realizes something higher: the becoming-world of the commodity, which is also the becoming-commodity of the world. Thus, by means of a ruse of commodity logic, what’s specific in the commodity wears itself out in the fight while the commodity-form moves toward its absolute realization.
每个特定的商品部为自己而战斗。它不承认其他商品, 并努力到处施加自己的影响, 好像它是世界的唯一存在。这时, 景观就是这一战斗的史诗, 一首无论任何特洛伊城被攻陷都永不结束的史诗。景观不歌唱人类及其武器的荣耀, 它颂扬商品及其激情。每个商品都追随着自身的激情迸行盲目的斗争, 却不知不觉实现了某些超越他自身的东西: 商品的全球化同时也是全球的商品化。因此, 作为商品的狡计的结果, 当商品的每一个特殊表现形式都最终阵亡时, 一殷商品形式却待续向前发展达到完全的自我实现。
67. The satisfaction which no longer comes from the use of abundant commodities is now sought in the recognition of their value as commodities: the use of commodities becomes sufficient unto itself; the consumer is filled with religious fervor for the sovereign liberty of the commodities. Waves of enthusiasm for a given product, supported and spread by all the media of communication, are thus propagated with lightning speed. A style of dress emerges from a film; a magazine promotes night spots which launch various clothing fads. Just when the mass of commodities slides toward puerility, the puerile itself becomes a special commodity; this is epitomized by the gadget. We can recognize a mystical abandon to the transcendence of the commodity in free gifts, such as key chains which are not bought but are included by advertisers with prestigious purchases, or which flow by exchange in their own sphere. One who collects the key chains which have been manufactured for collection, accumulates the indulgences of the commodity, a glorious sign of his real presence among the faithful. Reified man advertises the proof of his intimacy with the commodity. The fetishism of commodities reaches moments of fervent exaltation similar to the ecstasies of the convulsions and miracles of the old religious fetishism. The only use which remains here is the fundamental use of submission.
在商品丰裕的情境下, 不再来自于商品使用价值的满足, 现在通过对作为商品的它们价值的认识来寻求: 为了商品的至高无上的自由(它的使用价值对自身是充足的), 消费者充满了宗教般的激情。对特定产品的热爱通过全部大众传播媒体的宣传, 迅速以闪电般的速度播撒开来。电影激发了时尚狂热; 杂志宣扬了夜市的发达, 在那里依次排列着各式各样的新鲜商品。各种流行小玩意的扩散增生反映了这样一个事实: 作为商品的大众己变得日益荒谬, 而它自己的荒谬竟又成为了一种商品。像钥匙链这类与购买奢侈商品一起被免费赠送的精美小饰品, 在这一领域来来回回被交换, 已远离了其原初使用价值, 它已担当起商品超验精神神秘自我放纵的证人。那些收集精美小饰品的人(这些小饰品被加工出来只是为了被收集)正积聚起商品的放任(indulgences)——在忠信之中商品真实在场的显赫象征。这样, 物化的人正式宣布了他与商品的亲密关系。像古老宗教拜物教一样, 与它不能自已的狂喜和不可思议的奇迹相一致，商品拜物教也创造出了它自己空前炽热兴奋的时刻。全部的使用价值只为一个目标: 生产习惯性的顺从。
68. The pseudo-need imposed by modern consumption clearly cannot be opposed by any genuine need or desire which is not itself shaped by society and its history. The abundant commodity stands for the total breach in the organic development of social needs. Its mechanical accumulation liberates unlimited artificiality, in the face of which living desire is helpless. The cumulative power of independent artificiality sows everywhere the falsification of social life.
被现代消费主义所强加的伪需要, 不能与不是由社会及其自身历史所创造的不再是他们自身的真实需要和欲望但对立。但商品的丰裕代表了社会需要有机发展的总体断裂。它的机械积聚解放出了一种压倒一切生活欲望的无限的人造物(artificiel ilimité)。这一自主人选彻的不断堆积的力最又以伪造全部社会生活为终结。
69. In the image of the society happily unified by consumption, real division is only suspended until the next non-accomplishment in consumption. Every single product represents the hope for a dazzling shortcut to the promised land of total consumption and is ceremoniously presented as the decisive entity. But as with the diffusion of seemingly aristocratic first names carried by almost all individuals of the same age, the objects which promise unique powers can be recommended to the devotion of the masses only if they’re produced in quantities large enough for mass consumption. A product acquires prestige when it is placed at the center of social life as the revealed mystery of the ultimate goal of production. But the object which was prestigious in the spectacle becomes vulgar as soon as it is taken home by its consumer–and by all its other consumers. It reveals its essential poverty (which naturally comes to it from the misery of its production) too late. But by then another object already carries the justification of the system and demands to be acknowledged.
在真实消费领域消费者的下一次幻灭发生之前, 直达消费社会幸福统一的形象, 不过是搁置了他的真实分离的意识。每一个新的产品都被隆重地宣称为独一无二的创造物, 都能提供一条通往总体消费希望大地的光明捷径。正像上流社会总是采用尊贵的贵族的第一个名字这事, 最终结果是导致整个一代人都具有这一名字一样, 那些提供给大众的、自称独一无二的物品其实正是因为他们是被大量生产的。这类普普通通的商品之所以有这样高的威望只是由于这一事实: 尽管非常短暂, 但在社会生活的中心它们已经名列前茅, 它们已被拥戴为对生产深不可测目的和秘密的一种揭示。但在景观中这种赢得地位与声望的物品, 一旦被消费者或全部其他消费者带回家中消费, 它就变得的十分平庸。这暴露了它自身本质上的贫乏, 这种贫乏反映的正是它生产的贫乏, 但这一揭露来的太迟了。与此同时, 另外一些物品正作为这一体系的代表取代它, 并要求它自己的喝彩瞬间。
70. The fraud of satisfaction exposes itself by being replaced, by following the change of products and of the general conditions of production. That which asserted its definitive excellence with perfect impudence nevertheless changes, both in the diffuse and the concentrated spectacle, and it is the system alone which must continue: Stalin as well as the outmoded commodity are denounced precisely by those who imposed them. Every new lie of advertising is also an avowal of the previous lie. The fall of every figure with totalitarian power reveals the illusory community which had approved him unanimously, and which had been nothing more than an agglomeration of solitudes without illusions.
由这一制度提供的满足的欺骗性, 被生产的一般条件和产品持续的交换所曝光。无论是在弥散的景观还是在集中的景观中, 以傲慢自大的不断变更的方式, 厚颜无耻地宣称他们不可变更之绝对优秀的本性, 正是这一体系保持活力之所在。像任何一个过时的商品那样, 斯大林正在被那些起初支持宣传他的力量所讨伐、谴责。广告产业的每一个新的谎言都是对其先前谎言一种招认。伴随着每一个极权主义权力化身的垮台, 那种毫无异议认可他的虚幻共同体(communauté illusoire)只不过显露为一种没有任何幻想的孤独的人的串通。
71. What the spectacle offers as eternal is based on change and must change with its base. The spectacle is absolutely dogmatic and at the same time cannot really achieve any solid dogma. Nothing stops for the spectacle; this condition is natural to it, yet completely opposed to its inclination.
景观呈现的作为永恒不变的东西, 其实仍然以变化为基础, 并一定随着其基础的变化而变化。景观整体上是教条的, 但同时又不能真正达到任何纯粹的教条。对它而言没有什么东西是稳定的。这一变化无常是景观的自然状态，但这又与它天生的倾向相反。
72. The unreal unity proclaimed by the spectacle masks the class division on which the real unity of the capitalist made of production rests. What obliges the producers to participate in the construction of the world is also what separates them from it. What brings together men liberated from their local and national boundaries is also what pulls them apart. What requires a mare profound rationality is also what nourishes the irrationality of hierarchic exploitation and repression. What creates the abstract power of society creates its concrete unfreedom.
景观宣称的虚假统一拖盖了在资本主义生产方式真实统一之下的阶级分裂。迫使生产者参加世界建设的力量, 也是将他们从中驱逐出来的力量。从地方性和民族性局眼中解放出来使入们相互发生关系的力量. 也是把他们拆开的力量。要求一种不断增强的合理性的力量, 也是滋养等级剥削和压迫的非理性的力量。创造社会抽象权力的力量, 也是创造其具体的不自由的力量。
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