We must develop a systematic intervention based on the complex factors of two components in perpetual interaction: the material environment of life and the behaviors which that environment gives rise to and which radically transform it. Debord, Report on the Creation of Situations, theanarchistlibrary.org, p.12
A person’s life is a succession of fortuitous situations, and even if none of them is exactly the same as another the immense majority of them are so undifferentiated and so dull that they give a definite impression of sameness. As a result, the rare intensely engaging situations found in life only serve to strictly confine and limit that life. We must try to construct situations, that is to say, collective ambiences, ensembles of impressions determining the quality of a moment. If we take the simple example of a gathering of a group of individuals for a given time, it would be desirable, while taking into account the knowledge and material means we have at our disposal, to study what organization of the place, what selection of participants and what provocation of events are suitable for producing the desired ambience. The powers of a situation will certainly expand considerably in both time and space with the realizations of unitary urbanism or the education of a situationist generation. Debord, Report on the Creation of Situations, theanarchistlibrary.org, p.14
The construction of situations begins beyond the ruins of the modern spectacle. It is easy to see how much the very principle of the spectacle — nonintervention — is linked to the alienation of the old world. […] The role played by a passive or merely bit-part playing “public” must constantly diminish, while that played by those who cannot be called actors, but rather, in a new sense of the term, “livers,” must steadily increase. […] Situationist theory resolutely supports a noncontinuous conception of life. The notion of unity must cease to be seen as applying to the whole of one’s life (where it serves as a reactionary mystification based on the belief in an immortal soul and, in the final analysis, on the division of labor); instead, it should apply to the construction of each particular moment of life through the unitary use of situationist methods. In a classless society there will no longer be “painters,” but only situationists who, among other things, sometimes paint. The main emotional drama of life, aside from the perpetual conflict between desire and reality hostile to desire, seems to be the sensation of the passage of time. In contrast to the aesthetic modes that strive to fix and eternalize some emotion, the situationist attitude consists in going with the flow of time. In so doing, in pushing ever further the game of creating new, emotionally provocative situations, the situationists are gambling that change will usually be for the better. In the short term the odds are obviously against that bet. But even if we have to lose it a thousand times, we see no other choice for a progressive attitude. Debord, Report on the Creation of Situations, theanarchistlibrary.org, p.14, 15
Our central idea is the construction of situations, that is to say, the concrete construction of momentary ambiences of life and their transformation into a superior passional quality. […] Our action on behavior, linked with other desirable aspects of a revolution in mores, can be briefly defined as the invention of games of an essentially new type. The most general goal must be to expand the nonmediocre part of life, to reduce the empty moments of life as much as possible. One could thus speak of our enterprise as a project of quantitatively increasing human life, an enterprise more serious than the biological methods currently being investigated, and one that automatically implies a qualitative increase whose developments are unpredictable. The situationist game is distinguished from the classic notion of games by its radical negation of the element of competition and of separation from everyday life. On the other hand, it is not distinct from a moral choice, since it implies taking a stand in favor of what will bring about the future reign of freedom and play. Debord, Report on the Creation of Situations, theanarchistlibrary.org, p.12
We have to multiply poetic subjects and objects — which are now unfortunately so rare that the slightest ones take on an exaggerated emotional importance — and we have to organize games for these poetic subjects to play with these poetic objects. This is our entire program, which is essentially transitory. Our situations will be ephemeral, without a future. Passageways. Our only concern is real life; we care nothing about the permanence of art or of anything else. Eternity is the grossest idea a person can conceive of in connection with his acts. Debord, Report on the Creation of Situations, theanarchistlibrary.org, p.14
The "moment" is mainly temporal, forming part of a zone of temporality, not pure but dominant. Articulated in relation to a given place, the situation is completely spatio-temporal (cf. A. Jorn on the space-time of life, and A. Franklin on the plane-ification of individual existence.) Moments constructed into "situations" might be thought of as moments of rupture, of acceleration, revolutions in individual everyday life. The Theory of Moments and the Construction of Situations, Internationale Situationniste #4, https://libcom.org/article/theory-moments-and-construction-situations
Like the moment, the situation "can be extended in time or be condensed." But it seeks to found itself on the objectivity of artistic production. Such production breaks radically with durable works. It is inseparable from its immediate consumption as a use value essentially foreign to conservation as a commodity. The Theory of Moments and the Construction of Situations, Internationale Situationniste #4, https://libcom.org/article/theory-moments-and-construction-situations
Material aspects & situations
In addition to the direct means that will be used for specific ends, the positive phase of the construction of situations will require a new application of reproductive technologies. One can envisage, for example, televised images of certain aspects of one situation being communicated live to people taking part in another situation somewhere else, thereby producing various modifications and interferences between the two. More simply, a new style of documentary film could be devoted to “current events” that really are current and eventful by preserving (in situationist archives) the most significant moments of a situation before the evolution of its elements has led to a different situation. Since the systematic construction of situations will give rise to previously unknown sentiments, film will find its greatest educational role in the dissemination of these new passions. Debord, Report on the Creation of Situations, theanarchistlibrary.org, p.15
Our action on behavior, linked with other desirable aspects of a revolution in mores, can be briefly defined as the invention of games of an essentially new type. The most general goal must be to expand the nonmediocre part of life, to reduce the empty moments of life as much as possible. One could thus speak of our enterprise as a project of quantitatively increasing human life, an enterprise more serious than the biological methods currently being investigated, and one that automatically implies a qualitative increase whose developments are unpredictable. The situationist game is distinguished from the classic notion of games by its radical negation of the element of competition and of separation from everyday life. On the other hand, it is not distinct from a moral choice, since it implies taking a stand in favor of what will bring about the future reign of freedom and play. This perspective is obviously linked to the continual and rapid increase of leisure time resulting from the level of productive forces our era has attained. It is also linked to the recognition of the fact that a battle of leisure is taking place before our eyes, a battle whose importance in the class struggle has not been sufficiently analyzed. So far, the ruling class has succeeded in using the leisure the revolutionary proletariat wrested from it by developing a vast industrial sector of leisure activities that is an incomparable instrument for stupefying the proletariat with by- products of mystifying ideology and bourgeois tastes. The abundance of televised imbecilities is probably one of the reasons for the American working class’s inability to develop any political consciousness. By obtaining through collective pressure a slight rise in the price of its labor above the minimum necessary for the production of that labor, the proletariat not only extends its power of struggle, it also extends the terrain of the struggle. New forms of this struggle then arise alongside directly economic and political conflicts. Debord, Report on the Creation of Situations, theanarchistlibrary.org, p.13-14
Mascolo is right in saying (in Le Communisme) that the reduction of the work day by the dictatorship of the proletariat is “the most certain sign of the latter’s revolutionary authenticity.” Indeed, “if man is a commodity, if he is treated as a thing, if human relations are relations of thing to thing, this is because it is possible to buy his time.” But Mascolo is too quick to conclude that “the time of a man freely employed” is always well spent, and that “the purchase of time is the sole evil.” There can be no freely spent time until we possess the modern tools for the construction of everyday life. The use of such tools will mark the leap from a utopian revolutionary art to an experimental revolutionary art. Debord, Theses on Cultural Revolution, Internationale Situationniste #1, https://libcom.org/article/theses-cultural-revolution-guy-debord
Like the moment, the situation "can be extended in time or be condensed." But it seeks to found itself on the objectivity of artistic production. Such production breaks radically with durable works. It is inseparable from its immediate consumption as a use value essentially foreign to conservation as a commodity. The Theory of Moments and the Construction of Situations, Internationale Situationniste #4, https://libcom.org/article/theory-moments-and-construction-situations
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/

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We have invented nothing. We adapt ourselves, with a few variations, into the network of possible courses. We get used to it, it seems. No one has the enthusiasm on returning from a venture that they had on setting out on it. My dears, adventure is dead. Debord, Critique of Separation (Film), 1961 - https://remixedcity.wordpress.com/2014/02/17/critique-of-separation-english-subtitles-by-guy-debord-1961/