Shop :: The Day For Night 30th Anniversary CD Reissue Catalogue
Eric Scott is the label boss, musical director, composer, songwriter and producer of the works on the Day For Night label. This portfolio collects full details on all the releases since 1991, from Day 001 - Day 100.
The real beef is this – because I keep on asking myself, “How might we view Situationism as most truly relevant today, when we are becoming further immune to Guy Debord’s definition of a society deceived by spectacle? His later admonitions had more to do with a full, but depressed appreciation for how society appears to want spectacle. This is of course, somewhat preposterous and true, and some-what plausible but untrue. When a post-spectacle society consumes Internet Theatre playing to a capacity crowd, then sociologists also begin to use terms like post-literate and the idea of reality television has accelerated a viewpoint of social decay?
Then there’s NIGHTlinkRail… ah, yes… now that’s been fun to nail down.
At least we get you there.
For the online tours of the NIGHTlinkRail Network, I came up with
“Take An Internet Journey-By-Rail.
A pleasant wait is guaranteed for all.”
Then, in relation to NIGHTlink, I became “Stationmaster” as opposed to something more banal title. The need for détournement is addressed in Punk sloganism, and the jolts created by Situationism as a form of post-Surrealism, post DaDa.
Where can I go to support this interest with Situationist films, a documentary?
I would like to experience Situationism and feel it, not just as a purely abstract, or theoretical concept.
If Situationism was big in 1968, was there any relevance to the idea that The Spectacle would not have included the medium as part of its message? Especially once it became clear that Situationism was rejecting that medium…?
Antipathy between a medium, as a whole, and the ideology?