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情境主義和《景觀社會》的部分內核在「電影」上的延展，以電影作為論述的媒介，來探討電影在形成景觀後必然遭遇的困境。電影是過去的閃光和融貫，像醒來後努力辨認的宿醉記憶和夢境；它在提出一個需求後便不能介入了，這種分離亦導致了個人的意義的丟失......每次都會被居伊德波那些觀點的延展性和前瞻性驚到。
真有意思，明明不想玩这个游戏，明明以身犯险要被分离成一景观，声音仿佛不是从电影里传来，德波跳到红房间里去了呀
#1037
“只要环境还是由集体确定，就没有真正的个体，有的只是幽灵萦绕着他人，胡乱摆在他们面前的事物………由过滤的碎片化过去组成的愚蠢景观，充满了喧哗与骚动，因此现在的问题不是改变它，或让它去适应，另一个安排好的景观，遵循安排好的理解方式和参与方式。不。”
We all live in ways that are out of our control. // The only adventure, we said, is to contest the totality, whose center is this way of living, where we can test our strength but never use it. // Until the environment is collectively dominated, there will be no real individuals // As long as we are unable to make our own history, to freely create situations, our striving toward unity will give rise to other separations. // The wine of life is drawn and the mere lees is left this vault to brag of (Macbeth) // It is necessary to destroy memory in art. To undermine the conventions of its communication