{"version":"1.0","type":"rich","provider_name":"Context XXI","provider_url":"http:\/\/contextxxi.org","title":"D\u00e9tournement as Negation and Prelude\n","author_name":"Ken Knabb (translation) \u25aa \nSituationistische Internationale","width":"1200","height":"800","url":"https:\/\/contextxxi.org\/detournement-as-negation-and.html","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/contextxxi.org\/detournement-as-negation-and.html'\u003ED\u00e9tournement as Negation and Prelude\n\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003ED\u00e9tournement, the reuse of preexisting artistic elements in a new ensemble, has been a constantly present tendency of the contemporary avant-garde, both before and since the formation of the SI. The two fundamental laws of d\u00e9tournement are the loss of importance of each detourned autonomous element \u2014 which may go so far as to completely lose its original sense \u2014 and at the same time the organization of another meaningful ensemble that confers on each element its new scope and effect. \u003Ca href=\"detournement-as-negation-and.html\" class=' pts_suite'\u003E(...)\u003C\/a\u003E\u003C\/blockquote\u003E\n"}