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Il faut oser rompre avec cette société qui meurt, et qui ne renaîtra plus. Il faut oser l’Exode. Il ne faut rien attendre des traitements symptomatiques de la « crise, car il n’y a plus de crise : un nouveau système s’est mis en place qui abolit massivement le travail, il restaure les pires formes de domination, d’asservissement, d’exploitation en contraignant tous à se battre contre tous pour obtenir ce travail qu'il abolit.André Gorz

Illich's answer to the question, "Why do you not appear in the media?", was that he refused to disappear in the media. One cannot appear in "the media" in one's true subjectivity (and the political is the personal just as much as the personal is the political); therefore one should refuse the Media any vampiric energy it might derive from the manipulation (or simply the possession) of one's image. I cannot "seize the media" even if I buy it, and to accept publicity from, say, the New York Times, Time magazine, or network TV, would simply amount to the commodification of my subjectivity, whether aesthetic ("feelings", art) or critical ("opinions", agitprop). If I wish to bring about this commodification-if I want money and fame-there might be some reason to "appear in the Media"-even at the risk of being chewed up and spat out (for the Gaze is cold and bored and easily distracted). But if I value my subjectivity more than the dubious gamble for 15 minutes of fame and twice that many pieces of silver-I will have one very good reason not to "appear", not to be gazed upon. If I wish my own "everyday life" to be the site of the marvels I desire, rather than wishing to project those desires into a bodiless progression of images for public consumption (or rejection), then I will have another good reason to evade the media rather than try to "seize" it. If I desire "revolution" I have an urgent motive not to exchange the chance of social change for the image of change, or (even worse) the image of my desire for revolution, or (worse yet) the image of the betrayal of my desire.

Sutures i fragments barreja diversos ingredients per mirar d’encoratjar els desplaçaments fèrtils de l’un a l’altre, partint de la idea que els encontres més productius tenen lloc a través de les qualitats dels individus o dels grups que dialoguen independentment dels apriorismes lligats a la seva posició en l’escala de les elits o del capital cultural. També es produeixen allà on les categories de seriositat, credibilitat, diversió i absurd es fan més complexes.