Construing ‘the lazily eye’ (FW 293.11) formed by the ‘ALP diagram’ on page 293 of Finnegans Wake as a thought-image to invert an attribute of Guy Debord’s central conceptual device, the Spectacle, which ‘concentrates all gazing and all consciousness’ (Debord 1983: Para.3):
“In part, a secularisation of ‘the eye of the world, whereby the Absolute sees Its own works’ (Bakhtiar 1976: 11), it is characterised by Debord as the projection of human powers into a transcendent realm, which takes on the form of the Spectacle (Russell 2021: 76), the social organisation of appearances in modern capitalist society. Implicit in such an inversion is the aspiration to reverse the perspective of the very structural totality the Spectacle is intended to define – as one interpretation of Walter Benjamin’s messianism puts it, the ‘radical destruction of the world of images’ consists in their dialectical reversal (Desideri 2016: 186). Although the thought-image at the core of Finnegans Wake is not identical with the ‘Eye of God’ or Debord’s Spectacle, it can still constellate thinking around these and other themes and draw attention to the Old Testament ban on making images of God, ‘the prohibition on the image’ (bilderverbot) as it has been employed by Adorno and Max Horkheimer as the ‘awareness that the world is appearance’ and therefore does not represent the ultimate reality (Jopp and Martins 2018: 679). This hidden element of the critique of Benjamin and Adorno, what Horkheimer called a ‘Judaism undercover’ (Bielik-Robson 2019a: xi), gives their ideas a critical and methodological force indispensable for disintegrating the pantheistic unity of a more-than-allegorical spectacular totality, derived from a kabbalistic cosmic drama with its own implicit critique of pleromatic orderings of society, of which Debord’s Spectacle describes but one.”
More here – Skatterlings of a Stone: Finnegans Wake and the Moment of Philosophical Critique in Megalithic Archaeology
The Grammar of Matter 