Guy Debord, a key member of the avant garde movement known as the Situationist International, is best known for his concept of the society of the spectacle. Conceived in the sixties, the concept had at the time two variants, the concentrated and diffuse. Debord used these in those cold war times to describe the regimes of the image in both east and west under the same rubric. Later, he conceived of the rise of the integrated spectacle. Based on his experience of France and Italy in the seventies, this concept explained regimes of the image that combined elements form both sides of the cold war divide, threading together the commodity fetishism of the west with the opaque actions of the state form the Soviet east. But what if a third period could be discerned, of what might be called the disintegrating spectacle? This concept might point the way to an analysis and critique of the image under twenty-first century conditions, where everyday life is super-saturated by the commodity, by digital media, and by the unravelling of the political form of social organization.