S1E5 Dionysos

Acceleration in Dionysos: Audience 4 (2004)

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Acceleration in Dionysos: Stimulus (2020)

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Acceleration (n.)

Increase in the number of action and experience periods per unit of time.

Rosa, Hartmut: social acceleration (2005)

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Brueghel the Elder, Jan & Rubens, Pierre Paul: the 5 senses (1618)

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J'ai d'abord aimé, comme tout le monde, l'effet de la lègère ivresse, puis très bientôt j'ai aimé ce qui est au-delà de la violente ivresse, quand on a franchi ce stade: une paix magnifique et terrible, le vrai goût du passage du temps.

debord, guy: panégyrique (1997)

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Morse, Ralph: Anechoic Chamber (1963)

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Van Haarlem, Cornelis: Before the deluge (1615)

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Navigate your city by alternative means, follow piles of smell, of sound, whatever. When a desire is a physical possibility, you must defy the stifling constraints of the social order and act upon your desire.

Payne, Oliver & Relph, Nick: Driftwood (1999)

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McLean, Kate: Smellscape Le Marais (2018)

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Canali, Robert: In Dust: Untitled #2 (2010)

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According to Kant, all our thinking is related to imagination, which means it is related to our senses, because the only way to describe an object is through imagination. The intellect is incapable of perceiving anything, and the senses cannot think. Only through a combination of both can knowledge arise.

Ungers, Oswald Matthias: Morphologie: City Metaphors (1982)

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Acceleration in Dionysos: Draft Orthophoto (2020)

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Acceleration in Dionysos: Draft Orthophoto (2020)

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Acceleration in Dionysos: Sensory map (2020)

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Through a sophisticated approach to the senses, STIMULUS developed a method to provide an evolving urban experience for its citizens. Every district intensifies the stimulation of a specific sense creating particular characteristics. These districts and their characteristics slowly merge into one another and generate transition areas. Intensification, decrease, elusiveness and confusion define these places.

While navigating through STIMULUS, the citizens experience variations in their emotions, feelings and sensations. Their perception is triggered by a play between the intensification and the decrease of the stimulation of the five senses.

Acceleration in Dionysos: Statement (2020)

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1/ Every citizen has the right to experience sensorial variation.

2/ Every outdoor space shall be publicly accessible in order to unrestrictedly allow the dérive.

3/ The government has the duty to help its citizens moving whenever they get used to their place.

4/ Tools contributing to a variation of the sensorial perception of the city shall be provided.

Acceleration in Dionysos: Constitution of Stimulus (2020)

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Acceleration in Dionysos: Arsenal (2020)

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Candilis, Josic, Woods: Fort-Lamy Stem and Web (1965)

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The way we experience the world around us depends on how we perceive it. Without a comprehensive vision, the reality will appear as a mass of unrelated phenomena and meaningless facts, in other words, totally chaotic. In such a world it would be like living in a vacuum: everything would be of equal importance; nothing could attract our attention; and there would be no possibility to utilise the mind.

Ungers, Oswald Matthias: Morphologie: City Metaphors (1982)

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Acceleration in Dionysos: Stimulus Explanation (2020)

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Diller Scofidio + Renfro: Blurr Building (2002)

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Unknown: Echo Wall at Tempel of Heaven (1420)

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Unknown: Airplane listener (1921)

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Diotisalvi: Pisa Baptistery (1363)

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Payne, oliver & Relph, nick: driftwood (1999)

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Schaeffer, Pierre: Etude aux chemins de fer (1948)

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Google maps: Museumsinsel, Berlin (2020)

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Olmsted, Frederick Law: Emerald Necklace (1864)

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Foster, Norman: L'ombrière de Marseille (2013)

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Christo ,Jeanne Claude: Valley Curtain (1972)

Kapoor, Anish Kapoor: Monumenta (2011)

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Brown, Angus Leadley: Synchroballistic skateboarding (2003)

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Dérive (n.)

One of the basic situationist practices is the dérive (“drifting”), a technique of rapid passage through varied ambiances. Dérives involve playful-constructive be- havior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll.

debord, guy: theory of the dérive (1958)

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Burckhardt, Lucius: Autofahrerspaziergang (1993)

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Caillebotte, Gustave: Rue de Paris, Temps de Pluie (1877)

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Stevenson cassatt, mary: in the loge (1878)

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Stettner, Louis: Brooklyn Promenade (1954)

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If touch was generally ranked as the lowest of the senses then the highest position was accorded to vision, over the last few centuries, [...]

Urban life and visual spectacle have long been bound up together. Carnival, religious events and the urban promenade were all visually important features of pre-industrial society, while architectural monuments and city planning from the Renaissance onwards constituted the city itself as a visual spectacle, in theory, if not in practice.

Cowan, Alexander & Steward, Jill: the city and the senses (2007)

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Namuth, Hans: Jackson Pollock (1950)

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Strauss, Richard: Eine Alpensinfonie op. 64 (1915)

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NIETZSCHE, FRIEDRICH: DYNAMISCHES SCHEMA DER ZEIT (1873)

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unknown: whirling dervishes (2010)

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Baumgartner, Felix: Red Bull Stratos (2012)

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hollein, hans: non-physical environment (1967)

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abramovic, marina: aaa-aaa (1978)

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neugeboren, Heinrich: es moll fuge by J. S. bach translated into a modell (1928)

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Genth, Ulrich, Mutter, Heike: Tiger and Turtle Magic Mountain (2011)

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Thus then the intricate relation of the Apollonian and the Dionysian in tragedy must really be symbolised by a fraternal union of the two deities: Dionysus speaks the language of Apollo; Apollo, however, finally speaks the language of Dionysus; and so the highest goal of tragedy and of art in general is attained.

nietzsche, friedrich: the birth of tragedy (1872)

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raumlabor: küchenmonument in berlin (2006)

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Brown, Angus Leadley: synchroballistic image of a piano player (2006)

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Grieg, Edvard: In the hall of the Mountain King (1875)

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Acceleration (n.)

The rate at which something moves more quickly or happens faster or sooner.

Cambridge dictionary: Definition of acceleration (2020)

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Reggio, Godfrey: Koyaanisqatsi (1982)

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BRICE, MAXIMILIEN: particle accelerator CERN (2019)

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Everything that moves, is moved by a mover.

Aristotle: Metaphysics (1)

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STANKOWSKI, ANTON: ZEITPROTOKOLL MIT AUTO (1929)

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Die Bremsen los! Ihr könnt nicht? Brecht sie denn,
daß sich des Motors Schwung verhundertfacht!
Hurrah! Die niedre Erde fesselt mich nicht mehr.
Endlich befrei ich mich und fliege schon

Marinetti, Filippo: A l’automobil (1905)

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unknown: jet fighter breaking the sound barrier (2020)

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