Debord as inspiration and the Walkmobile
"In all its specific forms, as information or propaganda, as advertisement or direct entertainment consumption, the spectacle is the present model of socially dominant life. It is the omnipresent affirmation of the choice already made in production and its corollary consumption. The spectacle's form and content are identically the total justification of the existing system's conditions and goals."
(Guy Debord, 1967)
In our contemporary, society social relations, rather than being merely mediated by images, become relations among images (and vice versa). As an effect of the spectacular apparatus of the capitalist mode of production, the manufactured object acquires an inherent value: a "fetishism" of commodities. The car is the perfect example of this process: high budget, pervasive advertising and marketing campaigns from the automobile industry convince consumers that the car they purchase contributes to the construction of their own identities. In fact, it is a singular product which embodies a myriad of status symbol characteristics for its owners.
Mass-media, and popular culture in general, provide the battleground over which the power struggle between dominant and marginal groups is fought. Since we cannot hope to carve out spaces untouched by the spectacle, to attack it from the outside, we must instead turn it against itself - or detourn it - taking its elements, breaking them out of the simulated unity and totality on which the spectacle depends, and turning them against that unity.
The walk-mobile represents our attempt to resist and subvert the hegemonic discourse of motorism. The walkmobile provides an opportunity to actively engage the audience in reconsidering, consciously and unconsciously, the false and dominant idea of the car as a private place. Achieved by showing that its use for the individual's benefit is intrinsically based on an expropriation of collective urban space, which automatically affects the whole community.