1. S/he who doesn't see the game[1] in politics, the State, the Church, the economy, the army, the [political] parties, [and] the social organizations, doesn't have anything to do with us.
2. Boycott all the systems and all the conventions in power, regard them as unsuccessful games.
3. All veritable artists are born to transform their environments.
4. Prizes, scholarships, eulogistic critiques -- give them to us if you want; but one thing is sure: we are unutilizable.
5. To be unutilizable is our primary goal: the festival is the unpopular art of the people.
6. The entire world is the domain where the creative impulse, exclusively reserved for the festival, can deploy itself.
7. All that is utilizable isn't for man [sic]. Without the artist, man would have disappeared by now.
8. We are against the Carnival, because the Carnival diverts [detourne] the festival to commercial ends.[2] The abusive utilization of the festival is the greatest crime.
9. Art for art's sake is over, as is art for the sake of money and art for the sake of woman. Here begins art for the sake of festival.[3]
10. To be creative, one must make one's festival with everything, through continuous recreation.
11. To be human, one must be homo ludens and homo gaudens.[4]
12. Ever since the reign of dialectical and deterministic materialism, the festival is no longer a moment that makes culture into a party: we demand its emancipation from oppression by the dominant ideologies and rationalism.
13. The phrase "Knowing is power," which inaugurated the era of science, will be succeded by the phrase "Playing is power," which inaugurates the era of the game.
14. Just as Marx deduced a revolution in science, we deduce a revolution in festival.
15. The socialist revolution has abused artists. The simplistic, unilateral character of revolutionary upheavals comes from the separation of work and games. A revolution without festival isn't the revolution.
16. There is no artistic freedom without the power of the festival.
17. All the forces of dissatisfaction assemble themselves in an organization of anti-organizers that will realize itself in a global revolution.
18. With the greatest seriousness, we demand games. We demand the urban festival, the unitary festival, total, real, imaginary, sexual, irrational, complete, military, political, psychological, philosophical. . . .
19. With the realization of the situationist festival, all of the problems of the world will be resolved: the East-West problem, the Algerian question, the problem of the Congo, the riots by hooligans, the trials for blasphemy and sexual repression.
20. We engage the entire world in our festival!
Munich, January 1961[1] The words "game(s)" and "festival" translate the Bavarian word Gaudi, from the Latin gaudere: to be delighted, to be in joy. [Note by NOT BORED!: Gaudi can also mean fun or a lark.]
[2] Critique of the Fasching, Munich's carnival, which takes place between the Epiphany and Mardi Gras.
[3] [All italicized phrases in point #9] French in the original.
[4] [Note by NOT BORED!:] Homo Ludens is the title of a book on play by Johan Huizinga (1937). Homo Gaudens is the title of a book on joy by Mokslo Lietuva (1950).
(Written in German and published as a tract, January 1961. Distributed in the Schwabing neighborhood of Munich, mostly populated by artists and students. Extract in Internationale Situationniste #6, August 1961. Translated by NOT BORED! June 2005 from the French version published in Archives Situationnistes: Volume 1: Documents traduits 1958-1970. Footnotes by the editor of Archives Situationnistes, except where noted.)