“First, if it is true that a spatial order organizes an ensemble of possibilities (e.g., by a place in which one can move) and interdictions (e.g., by a wall that prevents one from going further), than the walked actualizes some of these possibilities. In that way, he makes them exist as well as emerge. But he also moves them about and he invents others, since the crossing, drifting away, or improvisation of walking privilege, transform, or abandon spatial elements.”

“The long poem of walking manipulates spatial organizations, no matter how panoptic they may be: it is neither foreign to them (it can take place only within them) nor in conformity with them (it does not receive its identity from them). It creates shadows and ambiguities within them. It inserts its multitudinous references and citations into them (social models, cultural mores, personal factors). Within them it is itself the effect of successive encounters and occasions that constantly alter it and make it the other's blazon: in other words, it is like a peddler carrying something surprising, transverse or attractive compared with the usual choice. These diverse aspects provide the basis of a rhetoric. They can even be said to define it.”

“Finally, the functionalist organization, by privileging progress (i.e. time), causes the condition of its own possibility--space itself--to be forgotten: space thus becomes the blind spot in a scientific and political technology. This is the way in which the Concept-city functions: a place of transformations and appropriations, the object of various kinds of interference but also a subject that is constantly enriched by new attributes, it is simultaneously the machinery and the hero of modernity.”

“Places are fragmentary and inward-turning histories, pasts that others are not allowed to read, accumulated times that can be unfolded but like stories held in reserve, remaining in an enigmatic state, symbolizations encysted in the pain or pleasure of he body. 'I feel good here': the well-being under-expressed in the language it appears in like a fleeting glimmer is a spatial practice.”

“To walk is to lack a place. It is the indefinite process of being absent and in search of a proper. The moving about that the city mutliplies and concentrates makes the city itself an immense social experience of lacking a place -- an experience that is, to be sure, broken up into countless tiny deportations (displacements and walks), compensated for by the relationships and intersections of these exoduses that intertwine and create an urban fabric, and placed under the sign of what ought to be, ultimately, the place but is only a name, the City...a universe of rented spaces haunted by a nowhere or by dreamed-of places.”

“Their story begins on ground level, with footsteps. They are myriad, but do not compose a series. They cannot be counted because each unit has a qualitative character: a style of tactile apprehension and kinesthetic appropriation. Their swarming mass is an innumerable collection of singularities. Their intertwined paths give their shape to spaces. They weave places together. In that respect, pedestrian movements form one of these 'real systems whose existence in fact makes up the city.' They are not localized; it is rather they that spatialize. They are no more inserted within a container than those Chinese character speakers sketch out on their hands with their fingertips.”

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