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.

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 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.

The sick man must follow his illness to the place where it is treated... He is set aside in one of the technical and secret zones (hospitals, prisons, refuse dumps) which relieve the living of everything that might hinder the chain of production and consumption, and which repair and select what can be sent back up to the surface of progress.

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.

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

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.