The walker is both tactile and tactical; he feels his way through a fog of strategy.
The walker crosses lines and steps into cracks.
The walker has no plan; whim is a weapon.
The walker strolls, in no particular direction, the needle of his compass spins like the carnie’s wheel of fortune; always a winner.
The walker can draw you a picture, but only on his hand, or in the air.
Take the walker’s picture, he can’t be recognized by it. The pictorial image is not the operative image. The strategic picture is not the tactical picture.
The walker’s path is an operative wave, capable of assuming any pattern within a territorial strategy.
The space the walker inhabits is larger than the physical space in which strategy is confined.
The lazy meandering stroll of the walker is the true mother of invention. As Virgil wrote, the goddess is known by her footsteps.
In the Gospel of Thomas, Jesus said, Be passers-by. The walker is only and always passing through.
The walker’s gait is a labile rather than a static equilibrium. A footstep is a presentiment of the fall.
The walker cannot be impersonated because he cannot be personated.
Walking is a method, not a product. The method of the walker cannot be codified or commodified; a particular walker has a peculiar walk.
The walker on the security cam is not the walker that walks.
The walker captivates space within the institution in which he is confined; thus, he can be institutionalized, but not captured, surveilled but not seen.
The walker practices the ellipsis of conjunctive loci by the tactical metamorphosis of space.
The walker is a asyndeton, not a synecdoche, of the panoptic map of territorial strategy.
The walker is a singularity within a collective of interacting singularities, the other walkers.
*Not to say, derivative of. Restatements or re-step-ments.