People connected to LessWrong and the Bay Area surveillance industry often cite David Chapman's "Geeks, Mops, and Sociopaths in Subculture Evolution" to understand why their subcultures keep getting taken over by jerks. Chapman is a Buddhist mystic who seems rationalist-curious. Some people use the term postrationalist.
Have you noticed that Chapman presents the founders of nerdy subcultures as innocent nerds being pushed around by the mean suits? But today we know that the founders of Longtermism and LessWrong all had ulterior motives: Scott Alexander and Nick Bostrom were into race pseudoscience, and Yudkowsky had his kinks (and was also into eugenics and Libertarianism). HPMOR teaches that intelligence is the measure of human worth, and the use of intelligence is to manipulate people. Mollie Gleiberman makes a strong argument that "bednet" effective altruism with short-term measurable goals was always meant as an outer doctrine to prepare people to hear the inner doctrine about how building God and expanding across the Universe would be the most effective altruism of all. And there were all the issues within LessWrong and Effective Altruism around substance use, abuse of underpaid employees, and bosses who felt entitled to hit on subordinates. A '60s rocker might have been cheated by his record label, but that does not get him off the hook for crashing a car while high on nose candy and deep inside a groupie.
I don't know whether Chapman was naive or creating a smokescreen. Had he ever met the thinkers he admired in person?
That work is not primarily about symbols or groups of artists at all, and insofar as it is about symbols and groups of artists it is about how mechanical reproduction diminishes the ability of artists to control the symbolic structure of their artworks. With that established, that work is primarily about art in a technological society, and about how technics shape (a) art, (b) politics, (c) the mediating interface between the two (which is itself technology in “the age of mechanical reproduction)
For Debord, the state is merely part of the Spectacle. The book is about how capitalism itself mediates culture through mass media. The idea of “mass consciousness” is too vague to get much of a look-in here, although the book could be plausibly explained as developing the vague idea of “mass consciousness” into something more concrete.