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.

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

New York has never learnt the art of growing old by playing on all its pasts. Its present invents itself, from hour to hour, in the act of throwing away its previous accomplishments and challenging the future. A city composed of paroxysmal places in monumental reliefs.

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.

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.

To walk is to lack a place.

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.

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 is taken away by the institution that takes charge not of the individual, but of his illness, an isolated object transformed or eliminated by technicians devoted to the defense of health the way others are attached to the defense of law and order or tidiness.

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.