The walking of passers-by offers a series of turns and detours that can be compared to "turns of phrase" or "stylistic figures." There is a rhetoric of walking. The art of "turning" phrases finds an equivalent in an art of composing a path.

The panorama-city is a 'theoretical' (that is, visual) simulacrum, in short a picture, whose condition of possibility is an oblivion and a misunderstanding of practices.

To walk is to lack a place. It is the indefinite process of being absent and in search of a proper.

Along with the lazy man... the dying man is the immoral man: the former, a subject that does not work; the latter, an object that no longer even makes itself available to be worked on by others.

As a first approximation, I define belief not as the object of believing (a dogma, a program, etc.) but as the subject's investment in a proposition, the act of saying it and considering it as true.

The walking of passers-by offers a series of turns and detours that can be compared to "turns of phrase" or "stylistic figures." There is a rhetoric of walking. The art of "turning" phrases finds an equivalent in an art of composing a path.

The trace left behind is substituted for the practice. It exhibits the (voracious) property that the geographical system has of being able to transform action into legibility, but in doing so it causes a way of being in the world to be forgotten.