To describe the spectacle, its formation, its functions and the forces which tend to dissolve it, one must artificially distinguish certain inseparable elements. When analyzing the spectacle one speaks, to some extent, the language of the spectacular itself in the sense that one moves through the methodological terrain of the very society which expresses itself in the spectacle. But the spectacle is nothing other than the sense of the total practice of a social-economic formation, its use of time. It is the historical movement in which we are caught.
