The drift The Situationists were also practitioners of a special urban-analytic walking style, the dérive—the “drift”—which Debord described as “a technique of transient passage through varied ambiences. The dérive entails playful-constructive behavior and awareness of psychogeographical effects; which completely distinguishes it from the classical notions of the journey and the stroll.” “In a dérive,” Debord deadpans, “one or more persons during a certain period drop their usual motives for movement and action, their relations, their work and leisure activities, and let themselves be drawn by the attractions of the terrain and the encounters they find there." The dérive joins the free association of surrealism, the LSD of hippiedom, and cinematic montage as tactics for overcoming the fixity of received ideas of order and logic. By putting progress through the city into a state of constant indeterminacy, it represents a schooled “style” of being lost. Michael Sorkin, 20 Minutes in Manhattan PsychogeographyRaindrops leaving an erratic trail psychologymovement
The axis of movement Moving in the city means constantly changing the axis of movement. In general, lateral movement is confined to a single plane, what’s called grade, the ground level. Because circulation in multistory buildings is fundamentally one way—which is to say from the bottom up—the condition at the top is invariably different from that at the bottom. Rooftop circulation is the domain of Fantômas, of cat burglars and fleeing criminals, of lovers, and of those acrobatic enough to negotiate the gaps between buildings. Michael Sorkin, 20 Minutes in Manhattan A Burglar's Guide to the City movement
On Theft How do we know what’s the right direction [for computers to take]? Ultimately it comes down to taste. It comes down to trying to expose yourself to the best things that humans have done, and then trying to bring those things in to what you’re doing. Picasso had a saying: “Good artists copy, great artists steal.” And we (at Apple) have always been shameless about stealing great ideas. And I think part of what made Macintosh great was that the people working on it were musicians and poets and artists and zoologists and historians who also happened to have been the best computer scientists in the world. But if it hasn’t been for computer science, these people would all be doing amazing things in life in other fields. And they brought with them — we all brought to this effort — a very liberal arts air, a very liberal arts attitude, that we wanted to pull in the best we saw in these other fields into ours. Steve Jobs, Steve Jobs: The Lost Interview A fresh focus of power