In both form and content the spectacle serves as a total justification of the conditions and goals of the existing system.
The spectacle is also the constant presence of this justification since it monopolizes the majority of the time spent outside the modern production process.
The apparent diversities and contrasts of these phenomena stem from the social organization of appearances, whose essential nature must itself be recognized.
Considered in its own terms, the spectacle is an affirmation of appearances and an identification of all human social life with appearances.
But the split within this totality mutilates it to the point that the spectacle seems to be its goal.
The language of the spectacle consists of signs of the dominant system of production signs which are at the same time the ultimate end-products of that system.
3 The spectacle presents itself simultaneously as society itself, as a part of society, and as a means of unification.
As a part of society, it is ostensibly the focal point of all vision and all consciousness.
5 The spectacle cannot be understood as a mere visual excess produced by mass-media technologies.
It is a worldview that has actually been materialized, that has become an objective reality.