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Similarly, Constant, of the COBRA group, proposed a city as a kind of physical expression of his utopia of “free play” which, in parts, bears striking resemblance to representations of the Internet, in books such as 'Mapping Cyberspace' (with wild lines pouring out of the metropolis perhaps representing bandwidth and site traffic). Made with perspex and bike parts, Constant's models and his diagrams for New Babylon demonstrate his yearning for future as something mobile, organic, animated, and self-celebratory. For Constant the city was a sort of perpetual festival of leisure. With its intricately connected wires suspending clear circular layers, ramps and walkways, Constant's New Babylon recalls some kind of tensile organism. As Constant describes it,

“The unfunctional character of this playground-like construction makes any logical division of the inner spaces senseless. We should rather think of a quite chaotic arrangement of small and bigger spaces that are constantly assembled and dissembles by means of standardized mobile construction elements like walls, floors and staircases. Thus the social space can be adapted to the ever-changing needs of an every changing population as it passes through the sector system.”

Analogues with the Internet are irresistable. Equally, he could have been referring in a general way to those unique social structures which have grown from the anti-globalisation movement – structures which, although provisional, pragmatic and short term, are nevertheless ideologically committed to social change and serve as emblems of the ongoing struggle against capitalism, a battle fuelled entirely from reserves of creativity.

Constant's is city as collage, similar to that celebrated by the less politically motivated group, Archigram, in the UK (many of whose members now design massive architectural features for megaband stadium concerts). In this time of desperate connectivity and complicated layering of urban cultures, with invisible webs of communication engulfing us, the need to understand the city as a place beyond work and production seems more pressing than ever.

The Situationist reaction to capitalism is also excellently expressed through anti capitalist collage: for example that of the General Lighting and Power group, whose slick mock-advertising images of soft focus female forms in leotards and computer graphics of office interiors and car accidents, wryly annotated with entertaining aphorisms such as:

'Aerobics is necessary: progress implies it' ('I see you baby, shaking that ass') and 'God is in the retailing'

Comparisons to Jenny Holzer and Barbara Kruger are obvious. Charles Rice, too, has observed the oversized billboard signs now proliferating in major cities, arguing convincingly that they serve to perpetuate the distance between the real and the impossible,'these spatial fantasies effectively deliver identification with the distant and the unattainable”

Many writers have noted the similarities between the Situationist's idea of the 'derive' (that is, the navigating of a city via means and routes other than those originally intended) - and the experience of “surfing” the internet. Colin Fournier, architect and educator makes some potent observations on this area.

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