Michel De Certeau Quotes

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.

— Michel De Certeau

“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.”

— Michel De Certeau

“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.”

— Michel De Certeau

“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.”

— Michel De Certeau

His [the pedestrian's] elevation transfigures him into a voyeur. It puts his at a distance. It transforms the bewitching world by which one was 'possessed' into a text that lies before one's eyes. It allows one to read it, to be a solar Eye, looking down like a god. The exaltation of a scopic and gnostic drive: the fiction of knowledge is related to this lust to be a viewpoint and nothing more.

— Michel De Certeau

“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.”

— Michel De Certeau

“The same is true of stories and legends that haunt urban space like superfluous or additional inhabitants. They are the object of a witch-hunt, by the very logic of the techno-structure. But [the extermination of proper place names] (like the extermination of trees, forests, and hidden places in which such legends live) makes the city a 'suspended symbolic order.' The habitable city is thereby annulled. Thus, as a woman from Rouen put it, no, here 'there isn't any place special, except for my own home, that's all ... There isn't anything.' Nothing 'special': nothing that is marked, opened up by a memory or a story, signed by something or someone else. Only the cave of the home remains believable, still open for a certain time to legends, still full of shadows. Except for that, according to another city-dweller, there are only 'places in which one can no longer believe in anything.”

— Michel De Certeau

“Far from being writers-founders of their own place, heirs of the peasants of earlier ages now working on the soil of language, diggers of wells and builders of houses-readers are travellers; they move across lands belonging to someone else, like nomads poaching their way across fields they did not write, despoiling the wealth of Egypt to enjoy it themselves.”

— Michel De Certeau

“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.”

— Michel De Certeau

“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.”

— Michel De Certeau

“What does travel ultimately produce if it is not, by a sort of reversal, 'an exploration of the deserted places of my memory,' the return to nearby exoticism by way of a detour through distant places, and the 'discovery' of relics and legends: 'fleeting visions of the French countryside,' 'fragments of music and poetry,' in short, something like an 'uprooting in one's origins (Heidegger)? What this walking exile produces is precisely the body of legends that is currently lacking in one's own vicinity; it is a fiction, which moreover has the double characteristic like dreams or pedestrian rhetoric, or being the effect of displacements and condensations. As a corollary, one can measure the importance of these signifying practices (to tell oneself legends) as practices that invent spaces.”

— Michel De Certeau

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.

— Michel De Certeau

“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.”

— Michel De Certeau

“An absence of meaning opens a gap in time.”

— Michel De Certeau

“A memory is only a Prince Charming who stays just long enough to awaken the Sleeping Beauties of our wordless stories.”

— Michel De Certeau

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

— Michel De Certeau

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

— Michel De Certeau

“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.”

— Michel De Certeau

The trace left behind is substituted for the practice. It exhibits the (voracious) property that the geographical system has of being able to transform action into legibility, but in doing so it causes a way of being in the world to be forgotten.

— Michel De Certeau

“Moreover, the question at hand concerns modes of operation or schemata of action, and not directly the subjects (or persons) who are their authors or vehicles. It concerns an operational logic whose models may go as far back as the age-old ruses of fishes and insects that disguise or transform themselves in order to survive, and which has in any case been concealed by the form of rationality currently dominant in Western culture.”

— Michel De Certeau

The only freedom supposed to be left to the masses is that of grazing on the ration of simulacra the system distributes to each individual.

— Michel De Certeau

“Political organizations have slowly substituted themselves for the Churches as the places for believing practices. Politics has once again become religious.”

— Michel De Certeau

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.

— Michel De Certeau

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.

— Michel De Certeau

“The walking of passers-by offers a series of turns and detours that can be compared to "turns of phrase" or "stylistic figures." There is a rhetoric of walking. The art of "turning" phrases finds an equivalent in an art of composing a path.”

— Michel De Certeau

The created order is everywhere punched and torn open by ellipses, drifts, and leaks of meaning: it is a sieve-order.

— Michel De Certeau

“More than its utilitarian and technocratic transparency, it is the opaque ambivalence of its oddities that makes the city livable.”

— Michel De Certeau

To walk is to lack a place.

— Michel De Certeau

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.

— Michel De Certeau

“Can the vast technology beneath our gaze be anything but a representation? Any optical artifact ... The city panorama is a theoretical (ie visual) simulacrum: in short, a picture, of which the preconditions for feasibility are forgetfulness and a misunderstanding of processes.”

— Michel De Certeau

“A place (lieu) is the order (of whatever kind) in accord with which elements are distributed in relationships of coexistence. It thus excludes the possibility of two thing being in the same location (place). The law of the 'proper' rules in the place: the elements taken into consideration are beside one another, each situated in its own 'proper' and distinct location, a location it defines. A place is thus an instantaneous configuration of positions. It implies an indication of stability.”

— Michel De Certeau

“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.”

— Michel De Certeau

“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.”

— Michel De Certeau