Game Practice And Theoretical Research Of Situationist Internationa

As a representative group in the radical political movement in the West from the 1960s to the 1970s,the Situationist International(SI)played an important role in the development of art and political thought in the contemporary West.A distinctive feature of the Situationists was when participate in the artistic activities and political movements,they treated playing as an approach.In this dissertation we will discuss the luden practices and luden theory of the Situationist International in three parts.In chapter one,we focuse on how the Situationist International shifted from a avant-garde artistic group to a social-critical group.This section discusses the art games of the Situationist International,mainly the kinds of mischief involved in Situationist films.However,these art games had shortcomings,and eventually the Situationists moved beyond art to social criticism.The second chapter focuses on exploring the play practices of the Situationist International in a social-critical perspective and analyzing the ideas behind the games.The section first identifies how capital plays pseudo-games in a spectacle society,on the basis of which the Situationists make claims against the spectacle and promote a true spirit of play.This process mainly examines the games and their connotations in the Situationist International such as detournement and derive in the process of constructing the situation and the construction of the New Babylon luden city,and identifies the critical spirit of the Situationists’ revolt against the spectacle through games.The third chapter focuses on Guy Debord’s wargame Le Jeu de la Guerre.Through the analysis of the wargame board setting and some situations of this wargame,this part explores Debord’s review of the Situationist International critical theory and his conception of the role of chess.Although the games and play of the Situationist International are utopian in character,the foreshadowing of the rationalization of labor and the arrival of a gamified world implied are still relevant to the field of cultural studies today.