Filliou’s score for this piece as reproduced by critic Lori Waxman:

A man runs out of the Chelsea Hotel, 222 W. 23rd Street, N.Y. He runs east to 7th Avenue
then south to 22nd Street
then west to 8th Avenue
then north to 23rd Street
then east to the Chelsea Hotel which he reenters at the same speed.

Waxman compares this score to Benjamin Patterson’s Man Who Runs (1963), and points out how race and place deeply affect these scores. Filliou is a white French Protestant with a glass eye referencing a hotel, while Patterson is a Black man and referenced the library.

Filliou writes of his work in 1984:
“We conceived the Çédille qui Sourit as an international center of permanent creation, and so it turned out to be. We played games, invented and disinvented objects, corresponded with the humble and mighty, drank and talked with our neighbors, manufactured and sold by correspondence suspense poems and rebuses, started to compile an anthology of misunderstandings and an anthology of jokes, and began to film some of these along with our one-minute scenarios.”

Marc James Léger comments that in Filliou’s work “art exists more vividly in places where you live or work than in rarefied spaces like museums… Having dropped out of a career as an economist and as a civil servant for the United Nations in the late 1950s, Filliou became a poet. He took the next step when he dropped out of the formalized commercial art system and developed in the 1960s the Eternal Network, a space where every artistic contribution is legitimate. As with Spoerri’s gatherings of friends, the Eternal Network represents the ongoing interactions of artists and non-artists alike in an everlasting and creative celebration of life.”