In an article, titled "A Brief Guide to Spassing like Lars Von Trier's Idiots", The L Magazine defined "spassing" as "a nebulous hybrid of socio-political protest and DIY therapeutic role-play through which the spasser attempts to discover his 'inner idiot.' The technique is often confused by witnesses for mental illness, either genuine or feigned, due to the spasser's self-prescribed cognitive simplicity, echolalia, muscular twitching, and motor deficits. These theatrics, however, first practiced in small groups and then performed in front of an unknowing public, entail a readily enacted methodology for confronting personal trauma through corporeal acknowledgement, as well as for disambiguating onlookers' essential tendencies toward either benevolence or hostility." The article also creates a fictional history of spassing: "An indolent middle-class Dane named 'Stoffer' perfected the technique with friends while house sitting for his uncle in the late 1990s. Initially a form of crude, pseudo-Marxist/Dada rebellion meant to both enliven and heal the petty, broken lives of Stoffer and his associates, spassing quickly took on a life of its own as an experimentally utopian psycho-sociological discipline. Fusing and reimagining several concepts from psychiatry, anti-consumerism, and Brechtian dramaturgy, among other philosophies, spassing has become one of the few dramatherapy models wherein both the performer and his audience are equal analysands. Proto-spassing models can also be found in William Wordsworth's 1798 poem 'The Idiot Boy,' the Milgram experiment, John Howard Griffin's 'Black Like Me', culture-jamming theory, and studies on paraphilic infantilism."

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