In the early 1960s, a movement began to stir beneath the streets of France, led by Guy Debord. A resistance against the growing tendrils of capitalism permeating an ever more concealed reality, the ideals of the Situationist International were far-reaching, covering significant ground over its 15 years of existence. One facet the SI confronted was the perception of time. We are forced to live in circular time, or the time of the proletariat: you wake, you work, you get paid, you pay your rent, repeat until death. In contrast, the bourgeois live in linear time, shackled to no cycle, free to move forward through this world unburdened by society, free do to as one wishes.
For Debord, there also existed play: moments outside of both linear and circular time. One praxis for manifesting this was what he termed dérive, French for “drift,” where one detaches from the material world and its bindings, searching out the psycho-geographical pushes and pulls of an environment, to “let themselves be drawn by the attractions of the terrain and the encounters they find there”. We see this exemplified in Even in Arcadia, a game that serves as an immersive play, in which the player finds themselves somewhat aimlessly meandering from room to room, scenes flittering between each in real time, the player’s movements drawn by nothing more than curiosity.