A series of cultural references, most of them originated from the mass media audiovisual sphere, are superimposed to our perception of everyday life. Cinematographic snapshots, places where we have never been but nonetheless become a part of our inner maps, melodies which we relate involuntarily to specific situations, becoming the soundtrack of our memories, with or without our consent... Doubtlessly, all of this forms an important part of the eco-system of every contemporary individual.

Before the impossibility of avoiding it, would it be possible to use all these elements as raw material of a human, personal experience, inverting the alienating use that is a priori supposed of them? The Situationists defended, through practices as the derive and concepts as psychogeography, a ludic use of the urban space, reclaiming human values through the random transformation of the routes and the subversion of the use of a productivity-oriented space.  Shouldn’t we consider that, now that our vital space has not just been amplified, but also replaced by a series of referents of the real, we could keep a certain level of humanity through the assimilation and individualized reutilization of this kind of this ­–supposedly harmless– referents? Couldn’t these kinds of practices become a mode of subversion inside the established channels?