To practice space is thus to repeat the joyful and silent experience of childhood; it is, in a place, to be other and to move toward the other...Kandinsky dreamed of: 'a great city built according to all the rules of architecture and then suddenly shaken by a force that defies all calculation.

Everyday life invents itself by poaching in countless ways on the property of others.

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.

It is as though the practices organizing a bustling city were characterized by [city practitioners', everyday citizens'] blindness. The neworks of these moving, intersecting writings compose a manifold story that has neither author nor spectator, shaped out of fragments of trajectories and alterations of spaces: in relation to representations, it remains daily and indefinitely other.

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.

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 media transforms the great silence of things into its opposite. Formerly constituting a secret, the real now talks constantly. News reports, information, statistics, and surveys are everywhere.