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     "What, for example, are the possible futures of urban transportation? Traffic is a problem involving space. How might the city of tomorrow cope with the movement of men and objects through space? To speculate about this question, an imaginetic center might enlist artists, sculptors, dancers, furniture designers, parking lot attendants, and a variety of other people who, in one way or another, manipulate space imaginatively. Such people, assembled under the right circumstances, would inevitably come up with ideas of which the technocratic city planners, the highway engineers and transit authorities have never dreamed.
     Musicians, people who live near airports, jackhammer men and subway conductors might well imagine new ways to organize, mask or suppress noise. Groups of young people might be invited to ransack their minds for previously unexamined approaches to urban sanitation, crowding, ethnic conflict, care of the aged, or a thousand other present and future problems.
     In any such effort, the overwhelming majority of ideas put forward will, of course, be absurd, funny or technically impossible. Yet the essence of creativity is a willingness to play the fool, to toy with the absurd, only later submitting the stream of ideas to harsh critical judgement. The application of the imagination to the future thus requires an environment in which it is safe to err, in which novel juxtapositions of ideas can be freely expressed before being critically sifted. We need sanctuaries for social imagination.
     While all sorts of creative people ought to participate in conjecture about possible futures, they should have immediate access - in person or via telecommunications - to technical specialists, from acoustical engineers to zoologists, who could indicate when a suggestion is technically impossible(bearing in mind that even impossibility is often temporary)."