El Andar Como Practica Estetica Parte5

Ann-wink

mmaslc cn a1<(mL.»,, f..@¢1a»m<= .»1 1..»f1m~,\m.wwlu dc \\apn0§x@, um. (1L=,.»f;¢~n¢»f1<m\ pm-V

f11f1;.<1(»m.»¢\-n|. Es .yn ,Hmmm A u;wv< fm<-.mx <<~ vmm cn ronmuu um lu pk..-W an.

mm 1¢~m<~ fm Lm~n0n0_

La ciudad como Iiquido amniéticoAI xgual qun <»<-m-rin mn ms §1gm@.\l@,»..U»,Y

Simms M1...\¢a1~<|u< y .\m\f~;. mlimflgs porDada, wnpm-U 1% urmlmnrlcos ¢m“p¢>lmdf* Ins smrcalislzu unieron mnlin\\z\fi6n, Sin<-m|>¢\\~g<-, cl ¢<ms|i...L¢ ‘ilwnhumr fn grupuA lmvés df lm LC-mb mfg1m1<=~ df lun-is

-uno, ,mms im¢.~mi1\,lh1@§, Lmno lm .1<»|mi<s

_|;.¢-qw Baron- SQ Cmmsls Im. Q1 <-Umm.-a<»

Q., .m»<1<= lm ;»f\m<1@<|@5 \:1i»pm<:m~1\¢|;\<PM |(», <um»\1ams, Con cl lin de M,..<1~.|- m

p;\.1¢= 1f.<,.».N-»<»nu» (lc mm cimlad que <=<¢1.|»\

<-m1m.u1<» dl; Im \.~;.m|b.-1nm0M1»u.g.1`~-SM.

En 1924 1.1m Amgun p\\h1m\ 1,~1»~y_m» dw

/mm (lil /,fm/,WU ,ff mm), un libro ww ufuno pmce mam.. 1., <,pm~<m Q1 ;\q\\¢110s pg'sm f;\|np¢@lm_ s, U. 1\q“<\||;. n¢;\Sa<sn ummpk..-1,m<»§ |m|>nm Ido A p@.»<1¢.-M~ pm- cl

(mpw, alw-;\ In <m<1a<\ Sc <1¢m-am dmc Q1

|,.m|~1¢ mm de un ;~q»¢/L, .m f-1.m|>(»s\»\<>

qw ~ prcsn dc la wr/Agimnmlml W w mnzlmmp.\,\M<11. pm- m nm~\¢m¢ m@u~6pU1a_ L1

llbm M mm `»<p<-Cac do gum de lo m1.ms11.>_so ¢Ouaam.<» que sivc cn el xnlerior at 12. Liu-

dad m<,<1¢.m_ Ls um .1~<.~apfa@n <16 aqueruos lugam inérlims y (lc uqucllos remm <\¢

vida que se cleaaxmllan mkis allei do 105 innerM.-am L\\.~i§u¢U§, m um espccic dc \»nzv@fs@

M.\.\.»|-gwlo C an<\@§¢afm1,1¢. A lo large de um.(|¢-1....|m|;\fa<a»\ ummm, Q1 pafqun dc1s.m<-~-r:|\;\\m\<ml Se desczxbc mmo un mgnfl1<,..(1<» “W lm zmmlmxo el ammscimlf- <16 la

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an

¢m.,.uym1¢=,n<»w¢h¢ my a» <1=5m|>¢»f1 fromme \a¢=wp<>am 01 A /MMI, A |>L~M.\.| whomm Wpplc Wim mf mmgu fy//W mmmpf.,v01<@<\ by mf na<r<:n| .m~\.~0|>01,S_ Thebook .5 A ml¢>fg\1a(1(= |<» uw qwzdxkmmxxrvcls corxceulcml iminic Lhr m<»dr:rn ciLy. I(

i> thr dc$c\ìpLi0n of llxmu unknown placesand Irex;_§n1c\1ls oflxlb llml xnufulrl lar |]òmlo\\ri<r itinc\`;nìcs, in .1 mul uf<\xh|n<‘\`gcd,\mrl\~fiphtmblc llnxvcrse Dm ing n m\clnr»rml c\runr\h\xl;\li<ur|, Ihc Park of Iiullua-Cl|zu\m<mt is <lrsr’v'il)cd as Llxe plum: “w|1cr&‘

Lhu u||cu|m'io\x> of thc City luA’l\»," z\ tcv\rai\1

<>1’<~Xp¢|~1¢nL<=, w|»m= il W pombm lu mmup Wim m.m»,<1i»-1.1-,» >urp.-am and femm-i0nS.

ln /,r l’ay.»rm dw I’/mc, Ivlurvlla Pmnclhu Gnds‘~|-ffm-|~ing simile Ur mf M, nl iw mobile,why.-imlmw Spm-, ns wffw; like Lhe sea,Puri# hm lh<= Smwe of Lhu rnL\t\‘rn;\l wombml ur |1<>m~zs\\mg liquid, of im fmnl nga-

laliun, ol A L0ta\li\y." Il is m \l\is ammalif/1/mg wlm-~» <-v¢»r»Lhang gwm and a<

,pu..u.\.<»m\»1y m\|1s1k>fn1<-<l, mu |>f»ig|1t,lhnl Lhc endless wulka, Lhe enc0\\nLe|s, thetmumzilbfs (rlis|:<>\\‘ric@ nl nhjm in/141/Rs), llxrunexpnclml e\'c:nI>1\m( mllecuve gameshappen, Thaw vm-ly (1<»\mh\»|mi<»|\§ led no

;\

thc mm of giving mm, U, nm p@»~fq>u<m ofmc space of me my an rm/M an/fwfwffzzw

nm Lake men- place k\1m.gSa<1<» nw vmfm 01'

thc: leqmfl my in sxL\mLa0nm mmgmpluy.'1 |.<= am was 10 make mpg 1.kw¢ (m me\»»,a;\u<m< Q1 ]>(~1-Ccpuun <>m.m»¢<1»~~\\<»n

wkalkirxg mmugh me urban emamnm-m,L0 inulmle rhu mpuzm caused by un- my an

me WMM W/fmm1_<<»1‘[h@ pedesum.Breton \,¢=1i<=\»~i in mp possabxmy ufd\'L1w'ingmaps a».w11i¢1\ [lm plum w¢ lake me in

Ami-whik

eiiieiafit hh Lerrirorio de expeiieheiae eh eleiihi as peeihle eiieehirhr eerpieehe y ieifeie.eieiiee emehidiiihrihe.Miieiih ishheiihi ha view eh If Pfiyifm dePm uhh “iiieieiehie similiuid een el mar.eeii ei. espaeio imivii y labcrintico, eeh lavaeieded_ Paris se piifeee hi mei eh cl eehiido de regazo mfiieiiie y dc iiqiiidez hiiiiiii-vii, de egimeieh iheeeiiiiie, de glnha1idad".‘Eh eeie zfquide hmminihf, eh cl eiiei maecrece y se iihhsferihe. eepemesheeihehie, ree-

guardado de las mimdhe, se desarmllan Ioe

imeimihhhiei paseos, ies eneiiehifee, lah

iieiwhiiiee <e1ee<,iihiimiehiee de ohhhimhm, ie, aeemeeimiehies mesperados y

his juegos eeleeiivee. A phiiii de eeihe pri-hieihe deambulaciones heieiis la ieiee de for-iheiilhi 1h peieepeiaii del eepeeie eiiidhdhehe bqo la feime dc iiiiei whfihi m/lufmiales,

as

whine, Lhe places we Lry Lo avoid in black,whilc ihe reei, ih grey, Whiihi eepri-iehi thezones in which sensations of z\ttmcLir>n andiepiiiiieii altcrnme. These eeiiehiiehe regai-eiiiig <-ei-win eeiiihge eeiiid be peieeiveei, foreiihiiipie, walking down ei Ihmiliar eheeiwhere “if we piiy thu eiighiesi hii of aiien-Lion we can 1e¢:<igni7c zones ofwell-beingand malaise ilim aliernaw, for which wecould determine: ihie reepeeiive leiigihw

From hanal city to unconscious oilyThe Fimiriei em/ erihix hiiii speed had heehimiieiiirmed by mah iiiw h plete iii whichLn nuticu lhc banal and lhe ridkulous, inwhich to unmnsk the ihrce of llxc bourgeoiseiiy, ii public pleiee in which lo iiiiiiiih iiheeeaL1iisLiu\Li<n\al culture. The Surrealism nban-duned the nihilism of Dada and moved to-

/iiiii-walk

que volvcremus a encommr en la carmgi-a~

Ha Situacionisla, asociados a la visién de unaiiudacl liquida. Ln intencién Cru rcalizariihee mhpee basados eh las im-iheieiiee de la

peieepeioh obtenicla al rccorrcr el eiiihieh-Iv iii-hehe, el eeihpreiifiei las puhimm queIn Ciudad provoca cn los u/max de los Lran-

heimles. Breton crcfa en la posibihdad deiiihujhf “hee mapaa eii 105 cuales lee lugarce

que nos gusm frecueniar fuesen de colorhihhee, lee que deaeamos evimr dc eeiei-

negro, y los reelames de color gris, que re-presehwiie aquellas hehee eh las euaiee ee

iinei-heh eeheaeiehee de airaeeiéh y dc ie'piiieiisii. Eh eieiiee ehihiehiee dichas sense'eiehee pedieh percibirsc, pei- ejempie, reco-

iriendo una Calle habitual, cn la que "si

,iieeihmee iih mihihie de aieheieii peere-mee reconocer zonas de bieiieehir if eehee

B1

ward ii peeiiive piigeee Ueihg ihe ghiiiii<i_

work ieifi by hheeehi psychonnajwical iheorg rhny piiihgea heyehei Daclaiet hegiiiiiiiih the eiiiiiieiieh lhaL"someLl1ingis hiddenhuhind iheiey' Beyond ihe ieiiihiiiee of ihebehii exiei ihe ieiiiieiiee of nie iiiieeiieeieiie, heyeiiel hegfiiieii the aieeevei-y ofanew weiid that ihiisi be iiiieeiigeieei herei-ebeing rejected or greeiefi Wim mere eieii-

eihii The Surreulixtv heiieied ihhi urbanspace eeiihi bc crushed like our hiihii, :hai ii

non-visible reality can reveal ilselfin thc city.

The siiiieeiiei research is ei een ol peyeliiiieegiehi ihveeiigiiiiiiii of one's reieiiehehip w-hh

iirheih reaiiiy, hh epemiieh alrvady appliedwith eiieeeei through eiiiemhiie whining andhypnotic dieeihe, and which eiih also be di-

i-eeiiy hppii-ed ih walking through Lhe eiiy.

The siiiieaiiei eiiy is eh ei-geihiem ihhi pm-

Ami-whik

eiiieiafit hh Lerrirorio de expeiieheiae eh eleiihi as peeihle eiieehirhr eerpieehe y ieifeie.eieiiee emehidiiihrihe.Miieiih ishheiihi ha view eh If Pfiyifm dePm uhh “iiieieiehie similiuid een el mar.eeii ei. espaeio imivii y labcrintico, eeh lavaeieded_ Paris se piifeee hi mei eh cl eehiido de regazo mfiieiiie y dc iiqiiidez hiiiiiii-vii, de egimeieh iheeeiiiiie, de glnha1idad".‘Eh eeie zfquide hmminihf, eh cl eiiei maecrece y se iihhsferihe. eepemesheeihehie, ree-

guardado de las mimdhe, se desarmllan Ioe

imeimihhhiei paseos, ies eneiiehifee, lah

iieiwhiiiee <e1ee<,iihiimiehiee de ohhhimhm, ie, aeemeeimiehies mesperados y

his juegos eeleeiivee. A phiiii de eeihe pri-hieihe deambulaciones heieiis la ieiee de for-iheiilhi 1h peieepeiaii del eepeeie eiiidhdhehe bqo la feime dc iiiiei whfihi m/lufmiales,

as

whine, Lhe places we Lry Lo avoid in black,whilc ihe reei, ih grey, Whiihi eepri-iehi thezones in which sensations of z\ttmcLir>n andiepiiiiieii altcrnme. These eeiiehiiehe regai-eiiiig <-ei-win eeiiihge eeiiid be peieeiveei, foreiihiiipie, walking down ei Ihmiliar eheeiwhere “if we piiy thu eiighiesi hii of aiien-Lion we can 1e¢:<igni7c zones ofwell-beingand malaise ilim aliernaw, for which wecould determine: ihie reepeeiive leiigihw

From hanal city to unconscious oilyThe Fimiriei em/ erihix hiiii speed had heehimiieiiirmed by mah iiiw h plete iii whichLn nuticu lhc banal and lhe ridkulous, inwhich to unmnsk the ihrce of llxc bourgeoiseiiy, ii public pleiee in which lo iiiiiiiih iiheeeaL1iisLiu\Li<n\al culture. The Surrealism nban-duned the nihilism of Dada and moved to-

/iiiii-walk

que volvcremus a encommr en la carmgi-a~

Ha Situacionisla, asociados a la visién de unaiiudacl liquida. Ln intencién Cru rcalizariihee mhpee basados eh las im-iheieiiee de la

peieepeioh obtenicla al rccorrcr el eiiihieh-Iv iii-hehe, el eeihpreiifiei las puhimm queIn Ciudad provoca cn los u/max de los Lran-

heimles. Breton crcfa en la posibihdad deiiihujhf “hee mapaa eii 105 cuales lee lugarce

que nos gusm frecueniar fuesen de colorhihhee, lee que deaeamos evimr dc eeiei-

negro, y los reelames de color gris, que re-presehwiie aquellas hehee eh las euaiee ee

iinei-heh eeheaeiehee de airaeeiéh y dc ie'piiieiisii. Eh eieiiee ehihiehiee dichas sense'eiehee pedieh percibirsc, pei- ejempie, reco-

iriendo una Calle habitual, cn la que "si

,iieeihmee iih mihihie de aieheieii peere-mee reconocer zonas de bieiieehir if eehee

B1

ward ii peeiiive piigeee Ueihg ihe ghiiiii<i_

work ieifi by hheeehi psychonnajwical iheorg rhny piiihgea heyehei Daclaiet hegiiiiiiiih the eiiiiiieiieh lhaL"someLl1ingis hiddenhuhind iheiey' Beyond ihe ieiiihiiiee of ihebehii exiei ihe ieiiiieiiee of nie iiiieeiieeieiie, heyeiiel hegfiiieii the aieeevei-y ofanew weiid that ihiisi be iiiieeiigeieei herei-ebeing rejected or greeiefi Wim mere eieii-

eihii The Surreulixtv heiieied ihhi urbanspace eeiihi bc crushed like our hiihii, :hai ii

non-visible reality can reveal ilselfin thc city.

The siiiieeiiei research is ei een ol peyeliiiieegiehi ihveeiigiiiiiiii of one's reieiiehehip w-hh

iirheih reaiiiy, hh epemiieh alrvady appliedwith eiieeeei through eiiiemhiie whining andhypnotic dieeihe, and which eiih also be di-

i-eeiiy hppii-ed ih walking through Lhe eiiy.

The siiiieaiiei eiiy is eh ei-geihiem ihhi pm-

Ami-we1»<

(ie 1uu1eu;u-u11efuu<11u, de 135 rimles pueifee.uue 11eg1u- u 15111 111; requuavfu |onp;llurlcs".*

De la ciudad banal ala CiudadinconscienteLn ci\\d?1(l¢l:‘ los ea<'r~\1z\1lu» rlc luu ilujos y dcln \elu<‘1(l¢1<l f\1|\xri>l;\ ine uurislbrrnucln pornqdu 1-u uu 1ug1u~ e1uu<1e eu. posiblc: discen-niv' lu lmnal y lo rizliculn, dunrlc em posiblcrlcsexirruascamr In [him flc la Liudncl lmrggueui; cn uu 1u;@u» piiblicu fluude em puublepmveeuf u 1:1 eu11ure 1uu1u1eu>uu1. Lu, mirre14l1<r;»1s almndonlamn cl niliilisixm :lc Darin y

se queeuuuumu hueau uu preye.-fu pueiuvuApuy111\<1uu\ cn 1u§ fuuduuieuuu 1-1u1 uu<11»ue

Le puicoanziliuis, se luuzmuu 1u1e1u1ueu1,eru-C1611 dc In iiugaciéii clntlaiura con lu convic-ciniu dc que: "algo ec vvcon:lia;1lli<lv\1Lm".Ademzis dc lm Lcriilorios dl: l;\ luzmziliclarl\“<islcn los lc1'r\lo1`luu rlrl incnnscimntc; ade-més llc lu neglicién existc lurluvia el flcscu-lu-imieufu de uu nuew uuuulu u uuiugurlnntcs de 1-eelmurlu 0, sirnpleuivnte, eirarnecarlo. Lu# surrealivms :min cunvcnciclns cleque cl eqiueie urhano puede uuuveuuee uligual que uueeue uuque, que en In e1u<1uf1puc<‘lQ re\'e:l>xrse una realirizxd no visible: Lainveuligncién iurreulisla eu una eapccie dc in-vcsllgzuién pu(-e1agi<~u de uueeuu 1-ulueisiumu la rcalidad urmuiu, uuu upelueiuu yapracdcada con éxuu, mccliaruc 13 eefriuuumiloinétlca y dc 105 uu-nee 111pu<aueue> y quopuede propoucrse de nuevo du-ee1e1ue1ue,influso atravesando ln ¢'i\\dz\d.La eiuaud surrealisla ea uu efguuiemu queprodufe y elbeigu cn eu 1-egm uuee 1emu>1-me que puedeu cxplorarsc,unospaise1i€Spor donde une puede peuleree y eeuur in»Lerminablemenle la sensacidn dc lo mamvi-

sa

duu:< :md euueeu1§ iemuu-see ui hc e>q»1ur-<~f1, lundsczipvs 1u wiueh ui gel luul and In1;ndle:»Iyexpcric1i1'<; the eeiumauu uf uw,dey 1.~,uf1q_ Dueiu 1uu1 g1uu|»e1»f1 1111; fun thatthe city enum he uu ;u:<LhuLi<’ space inwiueh ui opcxulc Lhmugh quu11<11uu/~ym1>u-li( aclium, and had urgrd 1u’\i§t,s to Alman-d<>n Lhe usual llmrms ol' |'c]Jr<:s<:\‘1l;1llm1,pointing 11u» wuy Luwanl e1u~ee| iu1u1»»uu110uin pu1>11e Wee. sum-e11uu, per1u1pe wuluuu,im 1u11y ..1u1<~1~s1uu1111q; au i1npu|1>1nLè1\> an1i<‘s|l1L‘Lic lkrrm, \|Liliv<~<l wlnlking -llvc mostuuuuul and <=ve1»y.1uy um 111 iuuu- ue u

me-(ms hy whirh to inv<‘\ligz\lr‘ and unveilwho 1m/:nn_1111»1u zz/rim n///11111/y, lhmu puns|l1z\L eludf- planned <,onl|òl ‘md cr>n\liLuleihc 111i1¢xpre»<:rl, \u1L11msi1x11\hlc cumponeriiin lmclltimwrml x`\~prcucr|l;Ltium. TheSi1u;u.1m|ivL§ wen' to eusrusv llm S\li`l’L>;ilis1s

1>l`l;\il1|\g in lakv Ihe polcnllal ol the l)1r1<la

p1qjee1 |u ue e>uu~uu> uonvcqucnres. `ll1\“

":\|tl\‘#s", url willxuun a|’lwm'k or 1|x'li>l, Llmreqefuuu of r<p1»eeu1uu1iuu and |><~rso||1|l1u1e1u, Lhcp\\r§uilolàr\;\\1ony|x1o\\s,u>l-leeuvu euul 1»evu1uuu1uu-y.u1, We.u1f1 her:<>mlJi|1c‘cl, Along wilh the practice <>l`wnl1<~

ing, in \l\c‘ wmdcrlng of Llu:

licllriul/Siluznlioliislu.

Leitrist drifting (dérive)In the early 19505 the Lctnrlsl Imenmtional,which became Lhv SiL\m1io|1lsLlntc|’|1uli<1nalin 1957, Suu gellirig 11151 in thc my as ucumrrcle expressive pus>il>ilily of uuueiu-1,umquiug 11 as an ueu11e1i¢-p<>1111<=u| meuueby w1ue11 10 iuiqefuuqe lhc peuuui-eup111»1i51sysieuu.Allen* Ihe Darin "visit" and Lhr S\||rc‘21l1§l“<leamb\llaLiun" fi new lerm was coined: thc

Ami-we1»<

(ie 1uu1eu;u-u11efuu<11u, de 135 rimles pueifee.uue 11eg1u- u 15111 111; requuavfu |onp;llurlcs".*

De la ciudad banal ala CiudadinconscienteLn ci\\d?1(l¢l:‘ los ea<'r~\1z\1lu» rlc luu ilujos y dcln \elu<‘1(l¢1<l f\1|\xri>l;\ ine uurislbrrnucln pornqdu 1-u uu 1ug1u~ e1uu<1e eu. posiblc: discen-niv' lu lmnal y lo rizliculn, dunrlc em posiblcrlcsexirruascamr In [him flc la Liudncl lmrggueui; cn uu 1u;@u» piiblicu fluude em puublepmveeuf u 1:1 eu11ure 1uu1u1eu>uu1. Lu, mirre14l1<r;»1s almndonlamn cl niliilisixm :lc Darin y

se queeuuuumu hueau uu preye.-fu pueiuvuApuy111\<1uu\ cn 1u§ fuuduuieuuu 1-1u1 uu<11»ue

Le puicoanziliuis, se luuzmuu 1u1e1u1ueu1,eru-C1611 dc In iiugaciéii clntlaiura con lu convic-ciniu dc que: "algo ec vvcon:lia;1lli<lv\1Lm".Ademzis dc lm Lcriilorios dl: l;\ luzmziliclarl\“<islcn los lc1'r\lo1`luu rlrl incnnscimntc; ade-més llc lu neglicién existc lurluvia el flcscu-lu-imieufu de uu nuew uuuulu u uuiugurlnntcs de 1-eelmurlu 0, sirnpleuivnte, eirarnecarlo. Lu# surrealivms :min cunvcnciclns cleque cl eqiueie urhano puede uuuveuuee uligual que uueeue uuque, que en In e1u<1uf1puc<‘lQ re\'e:l>xrse una realirizxd no visible: Lainveuligncién iurreulisla eu una eapccie dc in-vcsllgzuién pu(-e1agi<~u de uueeuu 1-ulueisiumu la rcalidad urmuiu, uuu upelueiuu yapracdcada con éxuu, mccliaruc 13 eefriuuumiloinétlca y dc 105 uu-nee 111pu<aueue> y quopuede propoucrse de nuevo du-ee1e1ue1ue,influso atravesando ln ¢'i\\dz\d.La eiuaud surrealisla ea uu efguuiemu queprodufe y elbeigu cn eu 1-egm uuee 1emu>1-me que puedeu cxplorarsc,unospaise1i€Spor donde une puede peuleree y eeuur in»Lerminablemenle la sensacidn dc lo mamvi-

sa

duu:< :md euueeu1§ iemuu-see ui hc e>q»1ur-<~f1, lundsczipvs 1u wiueh ui gel luul and In1;ndle:»Iyexpcric1i1'<; the eeiumauu uf uw,dey 1.~,uf1q_ Dueiu 1uu1 g1uu|»e1»f1 1111; fun thatthe city enum he uu ;u:<LhuLi<’ space inwiueh ui opcxulc Lhmugh quu11<11uu/~ym1>u-li( aclium, and had urgrd 1u’\i§t,s to Alman-d<>n Lhe usual llmrms ol' |'c]Jr<:s<:\‘1l;1llm1,pointing 11u» wuy Luwanl e1u~ee| iu1u1»»uu110uin pu1>11e Wee. sum-e11uu, per1u1pe wuluuu,im 1u11y ..1u1<~1~s1uu1111q; au i1npu|1>1nLè1\> an1i<‘s|l1L‘Lic lkrrm, \|Liliv<~<l wlnlking -llvc mostuuuuul and <=ve1»y.1uy um 111 iuuu- ue u

me-(ms hy whirh to inv<‘\ligz\lr‘ and unveilwho 1m/:nn_1111»1u zz/rim n///11111/y, lhmu puns|l1z\L eludf- planned <,onl|òl ‘md cr>n\liLuleihc 111i1¢xpre»<:rl, \u1L11msi1x11\hlc cumponeriiin lmclltimwrml x`\~prcucr|l;Ltium. TheSi1u;u.1m|ivL§ wen' to eusrusv llm S\li`l’L>;ilis1s

1>l`l;\il1|\g in lakv Ihe polcnllal ol the l)1r1<la

p1qjee1 |u ue e>uu~uu> uonvcqucnres. `ll1\“

":\|tl\‘#s", url willxuun a|’lwm'k or 1|x'li>l, Llmreqefuuu of r<p1»eeu1uu1iuu and |><~rso||1|l1u1e1u, Lhcp\\r§uilolàr\;\\1ony|x1o\\s,u>l-leeuvu euul 1»evu1uuu1uu-y.u1, We.u1f1 her:<>mlJi|1c‘cl, Along wilh the practice <>l`wnl1<~

ing, in \l\c‘ wmdcrlng of Llu:

licllriul/Siluznlioliislu.

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PUBLICITE PUBLIGITE

Gu. 1 WOLMAN nrésenm

Le n\ouvcm1‘n\ \eitri>te n’z\ pus fini son slrip-lease

Visitez PARIS PSYCHOGEOGRAPHIQUELe hasard vous guide LA DERIVE vous pvrdLes §lTU1\TION5 mnfllscs soul mul C0’\IS'1`RU1TE5

UNE AVENTURED’AMOUR ET DE MORTDANS LE CADRE

PRESTIGIEUXDES ILES

L'architc<:lure la plus faiclxeusc ost cells que propagc

FI R M I N 1.5 cnnsusxsn

Voyez nos prix INTERNATIONALE LETTRISTE

32, mc dc la I\/11111t;1g11e»Cc11ev1&\'e, PARIS V'

Anli-walk

En el surrealisrno convivian de un modeefectivo tanto las Lenmlivzis de hacer rcalidadun nuevo 14511 de la uzrla como una reaczcilma-ria huzdu /le la realzdnri. En este sentldn, la mi-pel-leneiu que daban n les suehos era intenpreuide per les lenissus dune el fesulinde dela ineepneidud hurgucsa de nidleriulinu; enla realidad, un nuevo estilo dc vida, La Cons-mieeien de siuitieieues y la psaetien de ld de-rim se basaban, por e1ci>nu'al'io, cn un con-trol concrete de los inedius y de lnscomporminienios que pndiun experirnenmr-se directzmente en la Ciudad. Los lelristzs re»elmeliun ld ideu de une. separunién enu-e lavida real, alienante y zlburridzl, y una vidainiuginariu maravillosa: ere 1a pfepiu reali-dad la que debia convcrtirse en algo miilravi-

11oso,Yz\ no era mumcnto de celebrar el in-consciente de la Ciudad. Era neceszlrioexpennienlnf unus fnnnus de vida supeiieiesmcdiante 1:1 coixstruccién dc unas sltuaeio-nes en ln realidad cotididnd: era ncceszlrioactuar en vez de sonar.Andus en gmpo dejzinduse lleiur per sulieiineeinnes inupi-evisles_ peseudn nnelies enterasbebiendu dc bar en bar, discutiendo y sonar:-do unu i-eunlueien que parecia u punto dellegax; se convirLi6 pam los letristas en unafbrrnil de rechazo del slsrema. un mndo de

94

yuung wiiteis, including Guy Delinnl, GilV1/olmali, Michele Bernstein, MohamedDnhouhlacques Fillon and Gilles Ivaiu,broke away [rom the Llzttrism of Isidore[sou to Ibund the Lellrisl Inlernzltional “towork on thc conscious, rollcctive construc-tion ot H new civilization." The lbcus oftheir inicrcsi was no longer pour); but a

pussiunule uny nrliviug lliul uint ine formof adventure in lhe urban environment:"Poetry has l;on~il1rned its \11L1mtm: formal-isins_ Beyond aesthetics, poetry lies entirelyin the power men will have in their ad\'cn»Lures, Poetry is read on lidces. Therefore it islu-gent Lo create ni-ui mes. Poetry is in dieibrln of the cities, We lònst111ct subversion.The new beauty will he tlint of the situation,tuinpni-my und experienced. [W] Poetrysimply ineuns llie deuelupineni ur absolutelynew forms of behavior and the irleaus WiLl1

which to be impzlssionedf"

The theory of the dériveIn the yeurs preceding the fni»n1u1inn of meSituzltionist International, the Lettrisrsbegin le develop u theory linsed on diepreetiee of usliun dnfring. The time spentin marginal snnes and the desei-ipuuu uf theunconri<:io\1s city in Surrealist Writings becan1e

nnii-walk

.iuineuse de ld vide lsurguesd y de rrchiuar111s reglas del sistema del arte. La rlérme era,l~|l realidad, una accién que diiicilmentenedisi dispendiaise denun del sisleine delilrle, pnesw que consistia en la nonslrllcciéndi- ins modalidades de una situacién euyeunsumo no dcjaba huellas. Era una accién

iugiw, un instante inmedlalo para ser vivido1-ii el presenle, sin preocuparse de su rcprc-s.-nuieian y de su eensefvaeiun en el iiennpn.loin una actividad esleliee que concordaba,uufeeuunenle een la legiee dadaista del.li lli-arte.

lm errabundeos de los letristas, iniciadosliilio la forma de “perdiciones“ juveniles porLu noches pdiisines, dsninienin enn el tiem-

|.n el canicier de una teena unugnnisin En11152, un pequenu grupd de jevenes esenie-iei, entre ellos Guy Debord, Gil J Wolman.Michele Bernstein, Mohamed Dahou,

>1¢u»qiies Fillon y Gilles liein, rompe een el le-

|| ismo de Isidote Isou pam fundar la

|lil<:rnacil>nal Letrisla, para “uabajar cn la

4 niistruccién consclenle y coleciiw dc unaluluwi ci\'i1izaci6n". En el Centro dc sus inte-..-ses ya no esid la peesin, sine una fnnnu dei iuii npasionada que se Lmduee en aventurasl-1| e1 ambiente urbano: "La poesia ha consu-l\\|d<> sus lilrimos formalismos. Mis allé de la

es

u widespread literary genre in the .nid-195Os, evolving into the Leitrim texts underthe guise of travel guides and manuals forusing the eine ln 1955 jacques Fillon wrote

his Ilesmjllmvl miimlné/> dz Purix (llmifrrme

pl/in We ununsl/e “gms” dz Ulnngni 1, e slienguide with exotic, multi-ellmie itilflemrles tobe completed on feel, lmni the departurepoint of the Lettrist headquarters on thePlane cuiiu»eseui»pe, But the lirsi essay inwhich me term dem/eeppeurs is the funnier/ails funn nn uwlminne nsus/mu, ininen in

1953 by Lhe 19-year-old Ivan (lhlchegluv(alias Gilles min) wne, euniflneed of tliereeil1i=iwni~e1ienu1 exteiisieti of [._ .1 psuChoanalysis into arcliitectural expression be»

comes inei-e and muse urgent,” describes ei

nininnt eiiy continuously varied by its inha-bitants in which “the main activity of the in-habitants will he CONTINUOUS DRIFT-

ING. Tlie elianging of landscapes irunione hour to the next will result in lounl di-

sorienlalion," through quarters whosenumes correspond le eenlinnnusly eliunfging innuds.Guy Debord is Lhc figure who collated thesestimuli and completed the research. In 1955

he wrote his Inrruduafion 11 une mtiqua de lu

géegmphie urhazm; in wliieli he sei out Lo

Anli-walk

En el surrealisrno convivian de un modeefectivo tanto las Lenmlivzis de hacer rcalidadun nuevo 14511 de la uzrla como una reaczcilma-ria huzdu /le la realzdnri. En este sentldn, la mi-pel-leneiu que daban n les suehos era intenpreuide per les lenissus dune el fesulinde dela ineepneidud hurgucsa de nidleriulinu; enla realidad, un nuevo estilo dc vida, La Cons-mieeien de siuitieieues y la psaetien de ld de-rim se basaban, por e1ci>nu'al'io, cn un con-trol concrete de los inedius y de lnscomporminienios que pndiun experirnenmr-se directzmente en la Ciudad. Los lelristzs re»elmeliun ld ideu de une. separunién enu-e lavida real, alienante y zlburridzl, y una vidainiuginariu maravillosa: ere 1a pfepiu reali-dad la que debia convcrtirse en algo miilravi-

11oso,Yz\ no era mumcnto de celebrar el in-consciente de la Ciudad. Era neceszlrioexpennienlnf unus fnnnus de vida supeiieiesmcdiante 1:1 coixstruccién dc unas sltuaeio-nes en ln realidad cotididnd: era ncceszlrioactuar en vez de sonar.Andus en gmpo dejzinduse lleiur per sulieiineeinnes inupi-evisles_ peseudn nnelies enterasbebiendu dc bar en bar, discutiendo y sonar:-do unu i-eunlueien que parecia u punto dellegax; se convirLi6 pam los letristas en unafbrrnil de rechazo del slsrema. un mndo de

94

yuung wiiteis, including Guy Delinnl, GilV1/olmali, Michele Bernstein, MohamedDnhouhlacques Fillon and Gilles Ivaiu,broke away [rom the Llzttrism of Isidore[sou to Ibund the Lellrisl Inlernzltional “towork on thc conscious, rollcctive construc-tion ot H new civilization." The lbcus oftheir inicrcsi was no longer pour); but a

pussiunule uny nrliviug lliul uint ine formof adventure in lhe urban environment:"Poetry has l;on~il1rned its \11L1mtm: formal-isins_ Beyond aesthetics, poetry lies entirelyin the power men will have in their ad\'cn»Lures, Poetry is read on lidces. Therefore it islu-gent Lo create ni-ui mes. Poetry is in dieibrln of the cities, We lònst111ct subversion.The new beauty will he tlint of the situation,tuinpni-my und experienced. [W] Poetrysimply ineuns llie deuelupineni ur absolutelynew forms of behavior and the irleaus WiLl1

which to be impzlssionedf"

The theory of the dériveIn the yeurs preceding the fni»n1u1inn of meSituzltionist International, the Lettrisrsbegin le develop u theory linsed on diepreetiee of usliun dnfring. The time spentin marginal snnes and the desei-ipuuu uf theunconri<:io\1s city in Surrealist Writings becan1e

nnii-walk

.iuineuse de ld vide lsurguesd y de rrchiuar111s reglas del sistema del arte. La rlérme era,l~|l realidad, una accién que diiicilmentenedisi dispendiaise denun del sisleine delilrle, pnesw que consistia en la nonslrllcciéndi- ins modalidades de una situacién euyeunsumo no dcjaba huellas. Era una accién

iugiw, un instante inmedlalo para ser vivido1-ii el presenle, sin preocuparse de su rcprc-s.-nuieian y de su eensefvaeiun en el iiennpn.loin una actividad esleliee que concordaba,uufeeuunenle een la legiee dadaista del.li lli-arte.

lm errabundeos de los letristas, iniciadosliilio la forma de “perdiciones“ juveniles porLu noches pdiisines, dsninienin enn el tiem-

|.n el canicier de una teena unugnnisin En11152, un pequenu grupd de jevenes esenie-iei, entre ellos Guy Debord, Gil J Wolman.Michele Bernstein, Mohamed Dahou,

>1¢u»qiies Fillon y Gilles liein, rompe een el le-

|| ismo de Isidote Isou pam fundar la

|lil<:rnacil>nal Letrisla, para “uabajar cn la

4 niistruccién consclenle y coleciiw dc unaluluwi ci\'i1izaci6n". En el Centro dc sus inte-..-ses ya no esid la peesin, sine una fnnnu dei iuii npasionada que se Lmduee en aventurasl-1| e1 ambiente urbano: "La poesia ha consu-l\\|d<> sus lilrimos formalismos. Mis allé de la

es

u widespread literary genre in the .nid-195Os, evolving into the Leitrim texts underthe guise of travel guides and manuals forusing the eine ln 1955 jacques Fillon wrote

his Ilesmjllmvl miimlné/> dz Purix (llmifrrme

pl/in We ununsl/e “gms” dz Ulnngni 1, e slienguide with exotic, multi-ellmie itilflemrles tobe completed on feel, lmni the departurepoint of the Lettrist headquarters on thePlane cuiiu»eseui»pe, But the lirsi essay inwhich me term dem/eeppeurs is the funnier/ails funn nn uwlminne nsus/mu, ininen in

1953 by Lhe 19-year-old Ivan (lhlchegluv(alias Gilles min) wne, euniflneed of tliereeil1i=iwni~e1ienu1 exteiisieti of [._ .1 psuChoanalysis into arcliitectural expression be»

comes inei-e and muse urgent,” describes ei

nininnt eiiy continuously varied by its inha-bitants in which “the main activity of the in-habitants will he CONTINUOUS DRIFT-

ING. Tlie elianging of landscapes irunione hour to the next will result in lounl di-

sorienlalion," through quarters whosenumes correspond le eenlinnnusly eliunfging innuds.Guy Debord is Lhc figure who collated thesestimuli and completed the research. In 1955

he wrote his Inrruduafion 11 une mtiqua de lu

géegmphie urhazm; in wliieli he sei out Lo

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Auu-wuik

mcnte pui- sus hnbimntes, y en la que “lupi-iueipui ueuviduei de les habilantcs sera unamm eeuuuuu. El cumbio de paiszijes entreuuu hem y la siguieute sera fespuusuhle dela rlcsorientucién con\plt‘t2\", A través (le unosbanios euyes u<uu|>res correspondcrdn u iesdisLinIos eslndn cle dninxo,Mais hush-, sera C\1yDeburrl quieu reemgerzilos diversos imcios y quien ieuuihuui la use

vcstigacirin. En 1955 ascribe su Irmrlrlumion aum rrzizqui? di# ze géugf/sp/sw uwefue dunrlc seprupeue <1efiuh~ uuus meieuus cxpei'un<‘r|m-les (leslirmdos ri “la <1bsc‘|’vacx6n (lc algunospsueeses dei mr y dc lo previsiblc en his eu-lles“, rnienlms que en 1956, con uu Wiliam# dw

la dérn/Q logrn superar lu <lcz\n\bul;\Ci6n su-rreulivta. A1 conrrzirio de lo que ucurre enlos pusees suueuiasuis, en la defuse “ei sspes-Lo aleutnrio es menus determmance dc loque putcria creme: desde cl punto ds- vismdc In flhue, euuste uu relieve psieegeugraiieede lu ciudad, euu eu. ricnues euuuuuus, pun»‘us lijos y vérticcs que hueeu diueii el ueeesuA cicrtas zonus 0 la Salida de Las mismeM". In,mme es uuu epei-ueiau construida que ueepfis ul uw peru que hu ue hssu en ei, puestuque csmi somerida u cierlas regius; hier poradelantudo, en base u uuus cartugraiias psi-eegeugrmieus, las direcciones de peueu-ueieu

21 la tmirlad ambientnl a analxzar; lu exten-sieu dei espacio u audugsu puede wriardesde la manzana hasta el barrio, e incluso“hssiu el teujuuiu de uue gruu Ciudad y desus periferias"; Ia dem/e debe empreuderseen guupus constiluidos por "dos e ues perseues uuieieu por uu misme esiude de cuncien-ese, puesm que la euufmuuieieu entre hisimpresiones de les disuuuss gsupes debepermidr llegar e uuus euueiusioues oljed-

4

mn

night ima houses uudei-guiug fieuuuliueu,hisehluisiug ueh-siup and without rlcstina~tion Llxruugh Paris during u uuuspuuuueustrike in the name ufadding to Lhe eunfu~sion, wuutienhg in suiueuuuuuu cnlafombsforbidden to thc* p\\bli&‘."‘

L¢\rchipeI influenfielOn 11 june 1954 11L the Galerie du Passagethe Lettriu exhibition “GG n\éu\gr;\pl1ies in-nueuueliss" wus upt»ueu_ The Lhesu-y of therl/irivzfeiiinctl "Lu describe a previously lack-ing inllutrntial euuugi-up1iy," whose yu-eeedents are ikmnd in the writings of Breton.The /\/11?//zgrvlfz/iivsiri/lu/'W/£ifll41,\ of an J,Wnlman use euiiuges ui'ixn;xgt‘> and phraseseu' out ur uewspupefs, while thc work byGilles Ivam is a map 01 Paris on which frag-meuis of isleuuls, ;u'cliip<:l;igos uuu peuiusu-lus cut uui ufu globe use plueeu: the sheufhsu is evei-ywhere, eyeu in Paris, the exuuealways within euurs reach; all you ueeel todo ix get lust and u><p1<u»e your huh ehy.Three years luief, in 1957, us preparatoryrlocuxx\er\L§ [br thc iò\\nding of |l\eSilumionisl Intei`|\;\tion;\l,_]urn and Dcbord<.<\nLin\led the dire<'li<m of Lhc: “meta~graphs" in ihe books Mn de Cojrmliague andMamuiuu The inibrmal mm-ks ufjorn simul-me the nuuish ehusis inhabited by symhuisof ctmsumpli<m, while in the urban mémaimiand uuuuesius nf nehuui che spuru of paintseem like dériw trails across fmgrnenns ofeuy.

Once uguiu, in the images u is Debnrdwho sums things up; the 5|-ss u-ueshusuieuist psyehugs-ugruphieei map is hischime p_\yehuge/upuffhzqfie ue P/his. IL is euu-revived as u folding map to be disuilxutcd to

Auu-wuik

mcnte pui- sus hnbimntes, y en la que “lupi-iueipui ueuviduei de les habilantcs sera unamm eeuuuuu. El cumbio de paiszijes entreuuu hem y la siguieute sera fespuusuhle dela rlcsorientucién con\plt‘t2\", A través (le unosbanios euyes u<uu|>res correspondcrdn u iesdisLinIos eslndn cle dninxo,Mais hush-, sera C\1yDeburrl quieu reemgerzilos diversos imcios y quien ieuuihuui la use

vcstigacirin. En 1955 ascribe su Irmrlrlumion aum rrzizqui? di# ze géugf/sp/sw uwefue dunrlc seprupeue <1efiuh~ uuus meieuus cxpei'un<‘r|m-les (leslirmdos ri “la <1bsc‘|’vacx6n (lc algunospsueeses dei mr y dc lo previsiblc en his eu-lles“, rnienlms que en 1956, con uu Wiliam# dw

la dérn/Q logrn superar lu <lcz\n\bul;\Ci6n su-rreulivta. A1 conrrzirio de lo que ucurre enlos pusees suueuiasuis, en la defuse “ei sspes-Lo aleutnrio es menus determmance dc loque putcria creme: desde cl punto ds- vismdc In flhue, euuste uu relieve psieegeugraiieede lu ciudad, euu eu. ricnues euuuuuus, pun»‘us lijos y vérticcs que hueeu diueii el ueeesuA cicrtas zonus 0 la Salida de Las mismeM". In,mme es uuu epei-ueiau construida que ueepfis ul uw peru que hu ue hssu en ei, puestuque csmi somerida u cierlas regius; hier poradelantudo, en base u uuus cartugraiias psi-eegeugrmieus, las direcciones de peueu-ueieu

21 la tmirlad ambientnl a analxzar; lu exten-sieu dei espacio u audugsu puede wriardesde la manzana hasta el barrio, e incluso“hssiu el teujuuiu de uue gruu Ciudad y desus periferias"; Ia dem/e debe empreuderseen guupus constiluidos por "dos e ues perseues uuieieu por uu misme esiude de cuncien-ese, puesm que la euufmuuieieu entre hisimpresiones de les disuuuss gsupes debepermidr llegar e uuus euueiusioues oljed-

4

mn

night ima houses uudei-guiug fieuuuliueu,hisehluisiug ueh-siup and without rlcstina~tion Llxruugh Paris during u uuuspuuuueustrike in the name ufadding to Lhe eunfu~sion, wuutienhg in suiueuuuuuu cnlafombsforbidden to thc* p\\bli&‘."‘

L¢\rchipeI influenfielOn 11 june 1954 11L the Galerie du Passagethe Lettriu exhibition “GG n\éu\gr;\pl1ies in-nueuueliss" wus upt»ueu_ The Lhesu-y of therl/irivzfeiiinctl "Lu describe a previously lack-ing inllutrntial euuugi-up1iy," whose yu-eeedents are ikmnd in the writings of Breton.The /\/11?//zgrvlfz/iivsiri/lu/'W/£ifll41,\ of an J,Wnlman use euiiuges ui'ixn;xgt‘> and phraseseu' out ur uewspupefs, while thc work byGilles Ivam is a map 01 Paris on which frag-meuis of isleuuls, ;u'cliip<:l;igos uuu peuiusu-lus cut uui ufu globe use plueeu: the sheufhsu is evei-ywhere, eyeu in Paris, the exuuealways within euurs reach; all you ueeel todo ix get lust and u><p1<u»e your huh ehy.Three years luief, in 1957, us preparatoryrlocuxx\er\L§ [br thc iò\\nding of |l\eSilumionisl Intei`|\;\tion;\l,_]urn and Dcbord<.<\nLin\led the dire<'li<m of Lhc: “meta~graphs" in ihe books Mn de Cojrmliague andMamuiuu The inibrmal mm-ks ufjorn simul-me the nuuish ehusis inhabited by symhuisof ctmsumpli<m, while in the urban mémaimiand uuuuesius nf nehuui che spuru of paintseem like dériw trails across fmgrnenns ofeuy.

Once uguiu, in the images u is Debnrdwho sums things up; the 5|-ss u-ueshusuieuist psyehugs-ugruphieei map is hischime p_\yehuge/upuffhzqfie ue P/his. IL is euu-revived as u folding map to be disuilxutcd to

Ami-wa|l<

vas"; su duraciéll media se Hja cn un dia,auhque puede exlcnderse lhlsel mnellms eincluso mese», cn illnfién dlas varlzlciones climélicus, de la posihllidadrim: heeel pausus e incluso de eeger hh mxicon rl fin d fmllal. Debord Imac lucgo una Ibm dv otrasepemeiqheg urhehqe, eqmq la “elehve emma-

cn coxlsiatcntc cn no szllir dllrante lodo undia de la Gare Saint-Lazarc [..,], Ia ‘alla posi-ble’ [..,] 1: inclllso cicrlas bmmas consldcm-die eqmveees, que han side hemp.-e eehsueradaes en mleslru cnnorno 1;1»mu, porejemple, lh1m<luelr§e de nochc eh las easeseh llemellemh, reeqrl-er sm pm, Paris ehaucwscop durame una hnelga dc cransporlespara agrawr la confusién haciéndosc condu-air flqhfle sea, e emu- pm les §hh1emahef>sde lm clltacllnlbas prohibidos al p€lbliu>”.’

EI archipiélago influencialEl ll elejhhae de 1954 he lnehghm eh 111

ohlehe du luggage una expqsleleh de les lelrlsee hegq cl Linulo “se me1agr11phle§ in-Il\\enlielle:»", I.

nc “describir une teoria de la me/se prepo-

e eqnegmm influcnclal quehasta hoy he ha exls1lele",y que habla heeya anljcipada eh les excriros dc AndreBl-em", Las mmfr1g'rr1/{aJiWlum:ialm (le Gilj,whlmeh wh collages dc lmagehes y de frasesyeeemelee de les pel-aaflaees, Eh ezmlm, lade Gilles [mlnla que se han superpuesm fragmemos deislns, arclhpiélagos y pehhqwles feeemelesde uh mepem\lhell_ Les IWW; alms ewan cntodas panes, illcluso ell Paris, lo exéljco :stislempl-e el alcance de la mano, basm conpcrderse y cxplorar la people ciudad. Tresanus me mae, eh

es una planm de Parin sobre

1957, como documenlos

e la annuehele de

e aworecur la <leee1lell11.ea<;h per-

102

tourisls, bul a map :hal lmiree ins user Lo

get IOSL. As in Lhv Dada visils and thc guideefleeqhes Fllleh, lleherd lou Lee. 1he ima-gery nf Lourlsm Lu dlmcribe Lhe cily,opening :his e11»l\1lge gllhle we llhel Parisexploded lh piecew, el my whose hlmy hasbeen uncrly 1051 and in which we nun rc-eeghlle 1»n1yI`rn;;nlenL~ of 1he historicaleehlef nqmlqg in emply epllee, The hypmh-enical lourial is lnslrucned no ibllow theal-1-owe 1he1 eq1mee1llelhegehee\15 melee,WWI wh hlhefl on peyellegeegmphleelhlrveyq. The my has been slwrefl by 5111>

jcrlivc experlenfe, “mee§l11ahg" eh eheselfenll in eelhpm-lee" with olhers lhe “free-llqle and pessiehs 11131 me felhl by vhluhgplmn and IisLenil1lr 10

phlsehThmap, me wan/ffl cl1y.'1111l_=r1l1lW1,1el'/19110111111

mlm an p.1y¢h»gfUg,~q/»11zqee.

The City ll hhfle, smppefl by Lhe deriveand he gel-.hehe l1qe1 elle ok eqmexl, Thedisorlenled quancrs are e<nllinen1_s sel

1, ehee ew.. lqher lm»

e1 heme yeel 1>el>er<l phhllsheel qheuqel-

lie plaqum ww

edrlll lh 2. liquid space, _11/1\llumulle‘l‘l‘nillsthat wander. .lururling or repulsing oneanonhcr clue lo the conlinuouh productioncf disolienllng zlflbcuve tensions. The deEl'l~.heh of Lhe parts, the: dismnces hefweeh theplalcs and lhe 1lllel<hes@ee of the veflersere Lhe rcxull of expel-leheefl mm ofmind.In llxe Lwo maps 1he l~eu1ee ihslele me quer-1elS are hm lhelleelleel, the plates are islands1hq1 can be <1-eseeel complcmcly, whale me

peselble .len-1/le, Lfeljeeml-les lh me velel, mehwl wee1

eh~ews el-e fmgmehe efqll [heder-

hgs belween memerles and ehseheeeAmidst Lhe Healing quarrers lhcrc is Lhe 5 1

O

uueunnneroexej nlr en/1.1 w. ln 11. vl En-5,,,,,,,`,,_,f

w um me varun wwf Tow ELLEN'oar'

E, e

Map of Cop

ASGER JORN1 ASGEF JOHN(pagina ae) Fin ae a page 1mm Fln docape¢1nague,19s7. cepeqhegue 1951

.

51-,-ee L1, T-.“""" " 'W -<

1

,` 1

F

SW vsnxcnuz 1*

11 :nm 2. IIGF

PERM111D 8‘ROSENC-RY»Y‘“

Ami-wa|l<

vas"; su duraciéll media se Hja cn un dia,auhque puede exlcnderse lhlsel mnellms eincluso mese», cn illnfién dlas varlzlciones climélicus, de la posihllidadrim: heeel pausus e incluso de eeger hh mxicon rl fin d fmllal. Debord Imac lucgo una Ibm dv otrasepemeiqheg urhehqe, eqmq la “elehve emma-

cn coxlsiatcntc cn no szllir dllrante lodo undia de la Gare Saint-Lazarc [..,], Ia ‘alla posi-ble’ [..,] 1: inclllso cicrlas bmmas consldcm-die eqmveees, que han side hemp.-e eehsueradaes en mleslru cnnorno 1;1»mu, porejemple, lh1m<luelr§e de nochc eh las easeseh llemellemh, reeqrl-er sm pm, Paris ehaucwscop durame una hnelga dc cransporlespara agrawr la confusién haciéndosc condu-air flqhfle sea, e emu- pm les §hh1emahef>sde lm clltacllnlbas prohibidos al p€lbliu>”.’

EI archipiélago influencialEl ll elejhhae de 1954 he lnehghm eh 111

ohlehe du luggage una expqsleleh de les lelrlsee hegq cl Linulo “se me1agr11phle§ in-Il\\enlielle:»", I.

nc “describir une teoria de la me/se prepo-

e eqnegmm influcnclal quehasta hoy he ha exls1lele",y que habla heeya anljcipada eh les excriros dc AndreBl-em", Las mmfr1g'rr1/{aJiWlum:ialm (le Gilj,whlmeh wh collages dc lmagehes y de frasesyeeemelee de les pel-aaflaees, Eh ezmlm, lade Gilles [mlnla que se han superpuesm fragmemos deislns, arclhpiélagos y pehhqwles feeemelesde uh mepem\lhell_ Les IWW; alms ewan cntodas panes, illcluso ell Paris, lo exéljco :stislempl-e el alcance de la mano, basm conpcrderse y cxplorar la people ciudad. Tresanus me mae, eh

es una planm de Parin sobre

1957, como documenlos

e la annuehele de

e aworecur la <leee1lell11.ea<;h per-

102

tourisls, bul a map :hal lmiree ins user Lo

get IOSL. As in Lhv Dada visils and thc guideefleeqhes Fllleh, lleherd lou Lee. 1he ima-gery nf Lourlsm Lu dlmcribe Lhe cily,opening :his e11»l\1lge gllhle we llhel Parisexploded lh piecew, el my whose hlmy hasbeen uncrly 1051 and in which we nun rc-eeghlle 1»n1yI`rn;;nlenL~ of 1he historicaleehlef nqmlqg in emply epllee, The hypmh-enical lourial is lnslrucned no ibllow theal-1-owe 1he1 eq1mee1llelhegehee\15 melee,WWI wh hlhefl on peyellegeegmphleelhlrveyq. The my has been slwrefl by 5111>

jcrlivc experlenfe, “mee§l11ahg" eh eheselfenll in eelhpm-lee" with olhers lhe “free-llqle and pessiehs 11131 me felhl by vhluhgplmn and IisLenil1lr 10

phlsehThmap, me wan/ffl cl1y.'1111l_=r1l1lW1,1el'/19110111111

mlm an p.1y¢h»gfUg,~q/»11zqee.

The City ll hhfle, smppefl by Lhe deriveand he gel-.hehe l1qe1 elle ok eqmexl, Thedisorlenled quancrs are e<nllinen1_s sel

1, ehee ew.. lqher lm»

e1 heme yeel 1>el>er<l phhllsheel qheuqel-

lie plaqum ww

edrlll lh 2. liquid space, _11/1\llumulle‘l‘l‘nillsthat wander. .lururling or repulsing oneanonhcr clue lo the conlinuouh productioncf disolienllng zlflbcuve tensions. The deEl'l~.heh of Lhe parts, the: dismnces hefweeh theplalcs and lhe 1lllel<hes@ee of the veflersere Lhe rcxull of expel-leheefl mm ofmind.In llxe Lwo maps 1he l~eu1ee ihslele me quer-1elS are hm lhelleelleel, the plates are islands1hq1 can be <1-eseeel complcmcly, whale me

peselble .len-1/le, Lfeljeeml-les lh me velel, mehwl wee1

eh~ews el-e fmgmehe efqll [heder-

hgs belween memerles and ehseheeeAmidst Lhe Healing quarrers lhcrc is Lhe 5 1

O

uueunnneroexej nlr en/1.1 w. ln 11. vl En-5,,,,,,,`,,_,f

w um me varun wwf Tow ELLEN'oar'

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