The empty debate on the spectacle — that is, on the activities of the world’s owners — is thus organized by the spectacle
itself: everything is said about the extensive means at its disposal, to ensure that nothing is said about their extensive deployment. Rather than talk of the spectacle, people often prefer to use the term ‘media.’ And by this they mean to describe a mere instrument, a kind of public service which with impartial ‘professionalism’ would facilitate the new wealth of mass communication through
mass media [English in original] — a form of communication which has at last attained a unilateral purity, whereby decisions already taken are presented for peaceful admiration. For what is communicated are
orders; and with great harmony, those who give them are also those who tell us what they think of them.
The power of the spectacle, which is so fundamentally unitary, a centralizer by the very weight of things, and entirely despotic in spirit, frequently rails at seeing the constitution under its rule of a politics-spectacle, a justice-spectacle, a medicine-spectacle and all the other similarly surprising examples of “mediatic excess.” Thus the spectacle would be nothing other than the excesses of the mediatic,
[5] whose nature, unquestionably good since it facilitates communication, is sometimes driven to extremes. Often enough society’s bosses declare themselves ill-served by their media employees: more often they blame the plebian spectators for the common, almost bestial manner in which they indulge in mediatic pleasures. A virtually infinite number of supposed mediatic differences thus serve to dissimulate what is, on the contrary, the result of a spectacular convergence, pursued with remarkable tenacity. Just as the logic of the commodity reigns over capitalists’ competing ambitions, or the logic of war always dominates the frequent modifications in weaponry, so the harsh logic of the spectacle controls the abundant diversity of mediatic extravagances.
In all that has happened in the last twenty years, the most important change lies in the very continuity of the spectacle. This has nothing to do with the perfecting of its mediatic instrumentation, which had already reached a highly advanced stage of development; it means quite simply that the spectacle’s domination has succeeded in raising a whole generation molded to its laws. The extraordinary new conditions in which this entire generation has effectively lived constitute a precise and sufficient summary of all that, henceforth, the spectacle will forbid; and also all that it will permit.