The spectacle's externality with regard to the acting subject is demonstrated through the fact that the individual's acknowledge gestures are no longer his have a title to but rather those of someone who take the part ofs them to him.

The spectacle's externality with regard to the acting subject is demonstrated through the fact that the individual's acknowledge gestures are no longer his have a title to but rather those of someone who take the part ofs them to him. -Guy Debord, The Society of the Spectacle, Thesis 30

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Discourse and the Real, Imagined, and Hyperreal City

In The Society of the Spectacle, Debord initiated an analysis of the ideological power of the image. In our increasingly imagistic improvement he contended, representation shapes, distorts, manipulates and directs the formation of identity. His

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