GUY DEBORD’S DERIVE AS AN EMANCIPATORY GAME

Abstract

This article examines the concept of Guy Debord's "dérive" as both a playful practice and a concept. The tendency toward post-postmodernism is defined as a direct turn to the individual, reinterpreting sincerity, irony, and emotionality. This is a reaction to the postmodern anti-humanism, most fully embodied in the philosophy of poststructuralism. The new era obliges us to revisit old authors to understand itself. The article systematically argues that Guy Debord is an author who can be reinterpreted in the context of post-postmodernism. For this purpose, a new interpretation of the philosopher's work is proposed, placing the concept and practice of dérive at the center of his thought. Thus, the article ignores "The Society of the Spectacle" to the extent possible. Dérive is considered as a play. This interpretation does not deviate from Guy Debord's own thinking, as he was familiar with the works of Johan Huizinga, and they were highly esteemed by him. Debord viewed play as a space alternative to seriousness. Seriousness, in his philosophy, was constructed by the capitalist system, which is the society of the spectacle. Dérive, in Guy Debord's philosophy, was a revolutionary practice aimed at overcoming the society of the spectacle. This article questions the revolutionary potential of dérive. Dérive, in its essence, is a practice of gaining new experiences that break through the alienation of the society of the spectacle. This experience is individual, so it cannot be the basis for a revolution that requires a unifying idea. Therefore, the article considers dérive as an emancipatory game, as there is a demand in society to exit the system constructed by capitalism, which is evident in the realm of entertainment, which mostly satisfies the demand for escapism. Thus, Guy Debord is recontextualized in the context of the current era of post-postmodernism, characterized by a return to individuality and by a demand for an exit from the capitalist paradigm.