An absence of meaning opens a gap in time.

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.

They become liberated spaces that can be occupied. A rich indetermination gives them, by means of a semantic rarefaction, the function of articulating a second, poetic geography on top of the geography of the literal, forbidden or permitted meaning. They insinuate other routes into the functionalist and historical order of movement. Walking follows them: 'I fill this great empty space with a beautiful name.'

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.

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

One is a socialist because one used to be one, no longer going to demonstrations, attending meetings, sending in one's dues, in short, without paying.

It seems possible to give a preliminary definition of walking as a space of enunciation.