This publication is the second of two collaborative books by Jorn and Debord whilst they were both members of the Situationist International.

The book is a work of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Lettrists, setting up Lettrism International, and showing his 'first masterpiece',[1] Hurlements en Faveur de Sade (Howling in Favour of Sade), a film devoid of imagery that played white when people were talking on the soundtrack and black during the lengthy silences between.

The first is printed with black ink, reproducing found text and graphics taken from newspapers and magazines.

The black layer contains fragments of text, maps of Paris and London, illustrations of siege warfare, cheap reproductions of old masters and questions such as 'How do you feel about the world at the moment, Sir?'

Other pages deal with more personal themes, including a cartoon of the first showing of his film Hurlements en Faveur de Sade, with comments for and against, and references to Dérive, which would become known as Situationist Drift, the habit of walking aimlessly through a city in an attempt to find its spirit.

Détournement ('diversion' or 'disruption') is also employed in the book to disorient the reader by creating startling collaged juxtapositions.

The last page is an orange swirl, above which reads the single sentence 'I wanted to speak the beautiful language of my century.

Can you imagine the result when the book lies on a blank polished mahogany table, or when it's inserted or taken out of the bookshelf.

The artists' book is credited to Asger Jorn, with Debord listed as "Technical Adviser in Détournement".

Also printed by Permild and Rosengreen, Copenhagen, the book was published by Jorn's Edition Bauhaus Imaginiste in May 1957, a few months before this group amalgamated with the Lettrist International to create the Situationists.

With electronics, automation and nuclear energy, we are entering on the new Industrial Revolution which will supply our every need, easily .

Each page is then covered with a second layer of coloured ink drops and drips, most of which go right to left, emphasising the direction of the book from beginning to end.

[6] Having just arrived in Copenhagen, Jorn and Debord rushed into a newsagents, stole a huge amount of magazines and newspapers, and spent a drunken afternoon collaging elements together.

In form as in content the spectacle serves as total justification for the conditions and aims of the existing system.'