"... How to achieve cohesion? That is to say, how an urban body can hold together distinct parts, diverse fragments? In other words, how does the urban body take form? The poet answers by turning to various images of the city, which evoke different urban rhythms. As well as the modulations of movement that happens within an organism..." (Olivier Mongin, Urban Condition)

“The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of the inferno, is not inferno, then make then endure, give them space..." (Italo Calvino, Invisible Cities)

"The underground in Buenos Aires and Paris have secret correspondences, poetic allusions and a dark bestiary, which trace the limits of a country with a language of its own. The metro as an intermediary between monotonous conditioning of the street and the momentary awakening other states of cenesthesia and consciousness. In contrast to walking in the street, where the options and vigilance are incessant, it is enough to start the descent so that an invisible hand seizes ours and leads us to a predetermined destiny without any choice. There aren’t two different ways to go from the station Etienne Marcel to that of Ranelagh: arrows and passages and signs and stairs negate any margin for caprice, any surface zigzags. Passengers and trains move into the same predetermined mechanism, and this is therefore when superficial strengths are numbed and we might access other levels; liberating ourselves from liberty, for a moment the metro makes us available, porous, recipients of everything that is deprived from us on the liberty of the surface, because being free up there means danger, obligatory choice, red light, crossing at the corners looking the right way..." (Julio Cortazar)