Within the current framework of consumerist propaganda, the fundamental mystification of advertising is to associate ideas of fulfillment with objects (televisions, or garden furniture, or automobiles, etc.) and furthermore by destroying the natural link these objects may have with other objects, so as to have them above all become a material environment with "status." This imposed image of fulfillment also constitutes the explicitly terrorist nature of advertising. Nevertheless, "fulfillment" (the moment of happiness) depends upon a global reality that involves nothing less than people in a given situation: living persons and the moment that gives them light and direction (their margin of possibility). In advertising, objects are treated as embodying passion in a passionate way ("how changed your life will be when you own a marvelous car like this”). The Situationist Frontier, Internationale Situationniste #5, https://libcom.org/article/situationist-frontier

Situationist critique and construction concerns, at every level, the use value of life. Just as our conception of urbanism is a critique of urbanism; just as our experience of leisure is in fact a refusal of leisure (in the dominant sense of separation and passivity); our designation of everyday life as our field of action means a critique of everyday life, one that will have to be "radical critique accomplished, and no longer advocated or indicated" […]. We do not claim to have invented extraordinary ideas within modern culture, but rather to have begun to draw attention to how extraordinary the nothingness of modern culture is. Specialists in cultural production are the ones who resign themselves most easily to their separation, and thus to their deficiency. But it is the whole of present society that cannot avoid the problem of the recuperation of its countless alienated, uncontrolled capabilities. The Situationist Frontier, Internationale Situationniste #5, https://libcom.org/article/situationist-frontier

Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for a communication and an activity that are absent. Debord, Critique of Separation (Film), 1961 - https://remixedcity.wordpress.com/2014/02/17/critique-of-separation-english-subtitles-by-guy-debord-1961/

Our epoch accumulates powers and dreams of itself as being rational. But no one recognizes these powers as their own. No one becomes an adult — there is only the possible eventual transformation of this long restlessness into a routine somnolence. Because no one ceases to be held under guardianship. The problem is not that people live more or less poorly, but that they live in a way that is always out of their control. Debord, Critique of Separation (Film), 1961 - https://remixedcity.wordpress.com/2014/02/17/critique-of-separation-english-subtitles-by-guy-debord-1961/

Until the environment is collectively dominated, there will be no individuals — only specters haunting the objects anarchically presented to them by others. In chance situations we meet separated people moving randomly. Their divergent emotions neutralize each other and maintain their solid environment of boredom. As long as we are unable to make our own history, to freely create situations, striving toward unity will introduce other separations. The quest for a central activity leads to the formation of new specializations. Debord, Critique of Separation (Film), 1961 - https://remixedcity.wordpress.com/2014/02/17/critique-of-separation-english-subtitles-by-guy-debord-1961/

The society sends back to itself its own historical image as a merely superficial and static history of its rulers. Those who incarnate the external fatality of what is done. The sector of rulers is the very sector of the spectacle. The cinema suits them well. Regardless of its subject matter, the cinema presents heroes and exemplary conduct modeled on the same old pattern as the rulers. Debord, Critique of Separation (Film), 1961 - https://remixedcity.wordpress.com/2014/02/17/critique-of-separation-english-subtitles-by-guy-debord-1961/

All existing equilibrium, however, is brought back into question each time unknown people try to live differently. But it’s always far away. We learn of it through the papers and newscasts. We remain outside it, confronted with just another spectacle. We are separated from it by our own nonintervention. It makes us disappointed in ourselves. At what moment was choice postponed? We haven’t found the arms we needed. We have let things go. I have let time slip away. I have lost what I should have defended. This general critique of separation obviously contains and covers some particular memories. A less recognized pain, the awareness of a less explainable indignity. Exactly what separation was it? How quickly we have lived! It is to this point in our unreflecting history that I bring us back. Everything that concerns the sphere of loss — that is to say, the past time I have lost, as well as disappearance, escape, and more generally the flowing past of things, and even what in the prevalent and therefore most vulgar social sense of the use of time is called wasted time — all this finds in that strangely apt old military expression, en enfants perdus, its meeting ground with the sphere of discovery, of exploration of unknown terrains; with all the forms of quest, investigation, adventure, avant-garde. It is the crossroads where we have found and lost ourselves. Debord, Critique of Separation (Film), 1961 - https://remixedcity.wordpress.com/2014/02/17/critique-of-separation-english-subtitles-by-guy-debord-1961/

The events that happen in individual existence as it is organized, the events that really concern us and require our participation, are generally precisely those that merit nothing more than our being distant, bored, indifferent spectators. In contrast, the situation that is seen in some artistic transposition is rather often attractive, something that would merit our participating in it. This is a paradox to reverse, to put back on its feet. This is what must be realized in acts. As for this idiotic spectacle of the fragmented and filtered past, full of sound and fury: it is not a question now of transmitting it — of “rendering” it, as is said — in another neatly ordered spectacle that would play the game of neatly ordered comprehension and participation. No. Any coherent artistic expression already expresses the coherence of the past, already expresses passivity. It is necessary to destroy memory in art. To undermine the conventions of its communication. To demoralize its fans. What a task! Debord, Critique of Separation (Film), 1961 - https://remixedcity.wordpress.com/2014/02/17/critique-of-separation-english-subtitles-by-guy-debord-1961/

The spectacle in its entirety is the era, an era in which a certain youth has recognized itself. It is the gap between this image and its results; the gap between the vision, the tastes, the refusals and the projects that previously defined it and the way it has advanced into ordinary life. Debord, Critique of Separation (Film), 1961 - https://remixedcity.wordpress.com/2014/02/17/critique-of-separation-english-subtitles-by-guy-debord-1961/

[…] like the proletariat, we cannot claim to be unexploitable in the present conditions; the best we can do is to work to make any such exploitation entail the greatest possible risk for the exploiters. Now, The SI, Internationale Situationniste #9, https://libcom.org/article/now-si