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INFORMATION WAR

Cover of the English edition of Guy Debord’s 1967 La société du spectacle (Society of the Spectacle) (Black & Red / Radical America, 1970).

The Detroit Printing Co-op: The Politics of the Joy of Printing, by Danielle Aubert. Los Angeles: Inventory Press, 2019. 240 pages.

A YEAR AFTER the May 1968 uprisings in France, essayist Maurice Blanchot defended the revolt—which, beginning as a student movement, had culminated in a near-cataclysmic general strike—as an expression of social treason: “In the so-called ‘student’ action, students never acted as students but rather as revealers of a general crisis, as bearers of a power of rupture putting into question the regime, the State, society.” In breaching the norms of the ruling order, this rupture also shook the foundations of personal identity; many of the uprising’s protagonists found it impossible to snap back into alignment. Over the course of the rebellion, writes historian Kristin Ross, “real participation—much more than a vague, formal solidarity, much more even than

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