In The Production of Space, Henri Lefebvre outlined the production of space in a constantly interacting triad of processes:
spatial practice– space as defined by societal norms and structures: daily routine, urban reality
representations of space– space as designed: maps, models, plans
representational space– space as imagined by its users: ideas, imagination, visions 
Lefebvre's railing rants, intricately intertwined with the philosophical treatises about the production of space that the book advances, against the self-same forces which have removed so many creative spaces, kind places and community gathering points from cities I loved, drew me to his work recently. But artists, artistic researchers and psychogeographers alike have a particular, if sometimes contestable, ability to wiggle into each of these three suits, by means of the ephemeral, the mercurial and the subtle. And it is the aim of much of my work to show that really, most anyone else can, too – through the memory traces and signposts I do not intend, but often find I have unknowingly placed, into my work for others to find; through the egalitarianism of the improvised music movements I came of age in; through city traversals that any and all may embark upon.