In the Romantic mythologies of the market niche formerly known as the counterculture, the Situationist International occupies a special place. Founded officially in Alba, Italy, in 1957 and dissolved in 1972, the SI sought alternatives to the strictures of the capitalist ruling order by exploring techniques for opening up experience to the fulfillment of authentic desire. Among those techniques were derive, the drift, unplanned excursions typically into the urban environment to uncover its objective and subjective conditions; detournement, diversion or derailment, the appropriation and alteration of images and other expressions of the market system that would expose their contradictions; and the potlatch, grand expenditures of time and resources in defiance of capitalist rationality and utility. The SI is said to have played a leading role in the general strikes in France in May 1968, inspired the fashion, music, and lifestyles of 1970s punk subculture, and set the agenda for postmodern media interventions such as, sampling, and other forms of hacktivism. McKenzie Wark’s new book The Beach Beneath the Streets: The Everyday Life and Glorious Times of the Situationist International takes its title from one of most the famous SI phrases from May ‘68: “Sous les paves, la plage!” (“Under the pavement, the beach!)
Given his profile as a prominent contemporary media theorist, it should come as no surprise that Wark has been heavily influenced by Situationism. Indeed, his celebrated book A Hacker Manifesto (Harvard, 2004) took obvious cues from SI frontman Guy Debord’s magnum opus, The Society of Spectacle, both in terms of its sublimely aphoristic form and its cryptic theoretical content. His next book Gamer Theory (Harvard, 2007) was in essence a requiem for the unrestrained spirit of play animating the notion of derive, now corralled within the multilevel structures of computer video games, set by the boundaries of what Wark terms their ruling “allegorithms” (a mashup of the words allegory + algorithm, meant to convey the way in which imaginative possibility has been . . .