The action of the individual is hindered by the alienation of movement in any action that the individual partakes in, within a world that places no inherent meaning in the individual. The objectified individual, at a weakness, falls past their moment of action and becomes the subjectified force of movement within the spectacle, whose movement itself, capitalism, adheres only to artificialities. The individual, who is also the worker, becomes one of many unrecognizable cogs within the artificiality, selling their labor as identity and expanding on said identity with the pursuit of commodities as private property and identifying characteristics.
Though these roles and identities vary at times and favor certain circumstances and conflict/contradict one another, they are merely products of the spectacle themselves, and offer this conflict or their necessary variations as a means of propelling the artificial momentum of the spectacle itself, creating the illusion of movement or progress where in fact there has been none, and securing its place as the dominant spectrum of society and the necessary force for all future progress. It encourages conflict which it can control in order to further entrench within the individual the standard of what is acceptable as well as the value of their identity.
These identities, produced by the spectacle are a distortion of ideology and a manipulation of the spectacle itself in its pursuit of dominance over society. All things, from anarchism to sex, take up a use-value, in that they become commodities themselves and are able to be consumed for the benefits of the markets alone, who thrive on the diversity of identity allowed within the spectacle, and who, thus allow the spectacle its place as the dominant force of society.
Although the spectacle itself has no control over the identities which emerge from itself, in that they are entirely individualistic as they form, its ability to lump these identities into controllable movements by means of image or ideology, gives the spectacle ultimate dominance over what is “seen” and therefore what is consumed. This ability allows the spectacle to remove those images or ideologies which directly come into conflict with the spectacle to the fringes of society, obscuring them with negative connotations and making it difficult for them to gain any traction or find any familiarity or solidarity with other images and ideologies more accepted by the spectacle