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<blockquote type="cite" cite><b>The Spectacle 2.0: Reading Debord in
the Context of Digital Capitalism</b></blockquote>
<blockquote type="cite" cite>Edited by<b> Marco Briziarelli</b> and<b>
Emiliana Armano</b></blockquote>
<blockquote type="cite" cite> </blockquote>
<blockquote type="cite" cite> The Spectacle 2.0 recasts
Debord's theory of spectacle within the frame of 21st-century digital
capitalism. It offers a reassessment of Debord's original notion of
Spectacle from the late 1960s, of its posterior revisitation in the
1990s, and it presents a reinterpretation of the concept within the
scenario of contemporary informational capitalism and more
specifically of digital and media labour. It is argued that the
Spectacle 2.0 form operates as the interactive network that links
through one singular (but contradictory) language and various
imaginaries, uniting diverse productive contexts such as logistics,
finance, new media and urbanism. Spectacle 2.0 thus colonizes most
spheres of social life by processes of commodification, exploitation
and reification.</blockquote>
<blockquote type="cite" cite> Diverse contributors consider the
topic within the book's two main sections: Part I conceptualizes and
historicizes the Spectacle in the context of informational capitalism;
contributions in Part II offer empirical cases that historicise the
Spectacle.</blockquote>
<blockquote type="cite" cite> All contributions included in this
book rework the category of the Spectacle to present a stimulating
compendium of theoretical critical literature. In the era of the
gig-economy, highly mediated content and President Trump, Debord's
concept is arguably more relevant than ever.</blockquote>
<blockquote type="cite" cite><br>
Table of Contents</blockquote>
<blockquote type="cite" cite><b>1. Preface: Guy Debord, Donald Trump,
and the Politics of the Spectacle</b></blockquote>
<blockquote type="cite" cite>Douglas Kellner</blockquote>
<blockquote type="cite" cite><b>2. Introduction: From the Notion of
Spectacle to Spectacle 2.0: The Dialectic of Capitalist
Mediations</b></blockquote>
<blockquote type="cite" cite>Marco Briziarelli and Emiliana
Armano</blockquote>
<blockquote type="cite" cite><i><b>Part I: Conceptualizing The
Spectacle</b></i></blockquote>
<blockquote type="cite" cite><b>3. The Integrated Spectacle: Towards
the Aesthetic Capitalism</b></blockquote>
<blockquote type="cite" cite>Vanni Codeluppi</blockquote>
<blockquote type="cite" cite><b>4. Guy Debord, a Critique of Modernism
and Fordism: What Lessons for Today?</b></blockquote>
<blockquote type="cite" cite>Olivier Frayssé</blockquote>
<blockquote type="cite" cite><b>5. The Spectacle of New Media:
Addressing the Conceptual Nexus Between User Content and
Valorisation</b></blockquote>
<blockquote type="cite" cite>Raffaele Sciortino and Steve
Wright</blockquote>
<blockquote type="cite" cite><b>6. Spectacle and the Singularity:
Debord and the 'Autonomous Movement of Non-Life' in Digital
Capitalism</b></blockquote>
<blockquote type="cite" cite>Clayton Rosati</blockquote>
<blockquote type="cite" cite><i><b>Part II: Phenomenology and
Historicisation of the Spectacle: from Debord to the Spectacle
2.0</b></i></blockquote>
<blockquote type="cite" cite><b>7. Rio de Janeiro: Spectacularization
and Subjectivities in Globo's city</b></blockquote>
<blockquote type="cite" cite>Barbara Szaniecki</blockquote>
<blockquote type="cite" cite><b>8. Data Derives: Confronting Digital
Geographic Information as Spectacle</b></blockquote>
<blockquote type="cite" cite>Jim Thatcher and Craig M.
Dalton</blockquote>
<blockquote type="cite" cite><b>9. Branding, Selfbranding, Making: The
Neototalitarian Relation Between Spectacle and Prosumers in the Age of
Cognitive Capitalism</b></blockquote>
<blockquote type="cite" cite>Nello Barile</blockquote>
<blockquote type="cite" cite><b>10. Tin Hat Games - Producing,
Funding, and Consuming an Independent Role-Playing Game in the Age of
the Interactive Spectacle</b></blockquote>
<blockquote type="cite" cite>Chiara Bassetti, Maurizio Teli, Annalisa
Murgia</blockquote>
<blockquote type="cite" cite><b>11. "Freelancing" as
Spectacular Free labour: a Case Study on Indipendent Journalists in
Romania</b></blockquote>
<blockquote type="cite" cite>Romina Surugiu<br>
</blockquote>
<blockquote type="cite" cite><b>12. Immaterial Labour and Reality TV:
The Affective Surplus of Excess</b></blockquote>
<blockquote type="cite" cite>Jacob Johanssen</blockquote>
<blockquote type="cite" cite><b>13. Disrupting the Spectacle: The Case
of<i> Capul TV</i> During and After Turkey's Gezi
Uprising</b></blockquote>
<blockquote type="cite" cite>Ergin Bulut and Haluk Mert
Bal</blockquote>
<blockquote type="cite" cite><br></blockquote>
<blockquote type="cite" cite><br></blockquote>
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<blockquote type="cite" cite>Open access
book:<b> <font
size="+2"> </font></b></blockquote>
<blockquote type="cite" cite><a
href="https://www.uwestminsterpress.co.uk/site/books/10.16997/book11/"
><font size="+1">https://www.uwestminsterpress.
co.uk/site/books/10.16997/book 11/</font></a></blockquote>
<blockquote type="cite" cite><a
href=
"https://www.uwestminsterpress.co.uk/site/books/series/critical-digital-and-social-media-studies/"><span
></span>https://www.uwestminsterpress. co.uk/site/books/series/critic
al-digital-and-social-media- studies/</a></blockquote>
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