S1E5 Dionysos

Harmony in Dionysos: FROM THE SPOON TO THE CITY (1952)

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harmoy (n.)
from the Greek ἁρμονία harmonia
meaning “unison, togetherness, a relation of sounds”
from the verb ἁρμόζω harmozō, “fit together, join”

Etymology Dictionary: Harmony (2020)

  • etymology
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Harmony in Dionysos: IANUA (2020)

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Harmony in Dionysos: ARGUMENT (2020)

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Unknown: Spontaneous Synchronization (2020)

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Unknown: Persimfans (1922)

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"Both-And"

Venturi, Robert: Complexity and Contradiction in Architecture (1966)

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Monnik, Peter: Mühlentor-Anlage (1552)

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Ianua is a city defined by its limits.
The sacred land on one side; the sea on the other.
In Ianua dissonant and consonant things will find themselves fused in a harmonic cacophony.

Harmony in Dionysos: Statement (2020)

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In Ianua, the citizens worshiped the god of two faces Polcaco. This entailed they constantly searched for a Harmony between consonance and dissonance. Archelogists state that they applied their myth to all realms of life, form their sexuality to the cuttlery they eat with to the city itself.

The people of Ianua worshipped ground instead of the sky. They recognised it was what provided them food and shelter. This way the rock mountain on which they lived was sculpted as they built buildings. They saw soil and hummus as a precious soft layer offered by the rough god Polcaco for them to produce food.
Ground was not to be wasted, everything taken somewhere would be repurposed somewehre else.

The city started as a small agricultural village on the sea.
As close by cities started invading and pillaging, the city became a fortress within the topography.

From the genesis of Ianua production and life were strictly linked in the city's routine but also spatially. As citys around the world started expanding over the horizons Ianua expanded within itself. Because of topographical constrictions but also because of their intrinsic belief that ground is sacred and not to be unnecessarily squandered.

As they built buildings overground they sculpted the topography on the surface. The underground became an extension of the city.

Harmony in Dionysos: The people of Polcaco (2020)

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Ianua rejects the false dichotomy of Either/Or.
Ianua accepts Both/And as foundamental truth.

Harmony in Dionysos: Contitution (2020)

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Harmony in Dionysos: IANUA SECTION (2020)

  • ianua
  • underground
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Harmony in Dionysos: IANUA (2020)

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Daniell, William: In Fingal’s Cave, Staffa (1825)

  • ianua
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Du Casse, Sculpt: Projection verticale des Travaux d'une mine dans le sens de la direction des filons (1834)

  • underground
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Helsinki City Planning Department: Extract of the Helsinki Underground (UG) Master Plan (2015)

  • ianua
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Kircher, Athanasius: Musurgia universalis (1650)

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Harmony in Dionysos: ARSENAL (2020)

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HARMONY IN DIONYSUS: IANUA SCHEME OF TOPOGRAPHY (2020)

  • ianua
  • bothand
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Harmony in Dionysos: ORTOPHOTO (2020)

  • ianua
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Harmony in Dionysos: Da cucchiaio alla città (2020)

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Dal cucchiaio alla città.

Rogers, Ernesto Nathan: From the spoon to the city (1952)

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I am for richness of meaning rather than clarity of meaning [...]

I prefer "both-and to "either-or," black and white, and sometimes gray, to black or white.

A valid architecture evokes many levels of meaning and combinations of focus: its space and its elements become readable and workable in several ways at once. But an architecture of complexity and contradiction has a special obligation toward the whole: its truth must be in its totality or its implications of totality.

It must embody the difficult unity of inclusion rather than the easy unity of exclusion.

Venturi, Robert: Complexity and Contradiction in Architecture (1966)

  • contradiction
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Harmony in Dionysos: IANUA, CITY OF "BOTH, AND" (2020)

  • ianua
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Half a millenium later our cities have become monstruous; too uncontrolled to be painted, infinitely complicated, dysfuntional to the largest possible extent. [...] yet we grapple ourselves to Brauns hopeful frontispiece: "Community, Security, Harmony...".

Koolhaas, Rem: Introduction for Cities of the world (2015)

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Braun, Georg; Hogenberg, Franz: Civitates orbis terrarum, Tenochtitlan (1580)

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Georg Braun & Frans Hogenberg: Hand coloured engraved Constantinopolis (1580)

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Hill, D. O.: St Rollox Chemical (1831)

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Gursky, Andreas: Salerno I (1990)

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The self-destruction of the urban environment is already well under way. The explosion of cities into the countryside, covering it with what Mumford calls “a formless mass of thinly spread semi-urban tissue,” is directly governed by the imperatives of consumption. The dictatorship of the automobile — the pilot product of the first stage of commodity abundance — has left its mark on the landscape with the dominance of freeways, which tear up the old urban centers and promote an ever-wider dispersal. Within this process various forms of partially reconstituted urban fabric fleetingly crystallize around “distribution factories” — giant shopping centers built in the middle of nowhere and surrounded by acre of parking lots. These temples of frenetic consumption are subject to the same irresistible centrifugal momentum, which casts them aside as soon as they haven engendered enough surrounding development to become overburdened secondary centers in their turn. But the technical organization of consumption is only the most visible aspect of the general process of decomposition that has brought the city to the point of consuming itself.

Debord, Guy: La société du spectacle (1967)

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Dopp, Michael: Janus (4x) (2017)

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Google Earth: San Bartolomeo della Certosa, Genova (2020)

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Google Earth: Ponte Vecchio, Firenze (2015)

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unknown: libiza station chongqing (2018)

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Horn, Mark: Caiyuanba Bridge in Chongqing (2008)

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Goldsmith: Floating Farm Dairy (2019)

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UNKNOWN: Leinster Gardens - Only Façade House (1937)

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Stölzl, Gunta: Slit Tapestry Red/Green (1928)

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There are moments, and it is only a matter of a few seconds, when you feel the presence of the eternal harmony....A terrible thing is the frightful clearness with which it manifests itself and the rapture with which it fills you....During these five seconds I live a whole human existence, and for that I would give my whole life and not think that I was paying too dearly.

Dostoevsky, Fyodor Mikhailovich: Demons (1873)

  • harmony
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Stockhausen, Karlheinz: Gruppen - Ensemble intercontemporain (1957)

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Piranesi, Giovanni Battista: Teatro di Marcello (1750)

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Arènes, Alexandra: Critical Zones (2020)

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Unknown: Almeria Greenhouses (2019)

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MUSICAL CHAIRS [synonyms] : disturbance, bedlam, tumult, pandemonium, commotion, turbulence, turmoil, disorder, uproar, hubbub.

Online Thesaurus: Musical Chairs (2020)

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Delsaux, Cédric: A Common Destiny (2008)

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ICARDA: Syrian Seed Bank (2018)

  • scarcity
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LENORA DITZLER: Monoculture, intercropping, pixel farming (2018)

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Lenora ditzler: pixel farming research (2018)

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Ricker, Charlotte: Three sisters companion planting (2018)

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segnit, niki: the flavour thesaurus (2010)

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Auf Harmonie verzichten
Meiner Ansicht nach ist vor allem der Begriff der Harmonie «ungültig» geworden. Ist es nicht das Harmoniebedürfnis, welches uns daran hindert, die heutigen urbanen Probleme präzise wahrzunehmen? Wenn wir die Hyperstadt wahrnehmen wollen, müssen wir unsere Mentalität und Sensibilität tiefgreifend ändern. Glücklicherweise stehen die hierfür notwendigen Instrumente schon zur Verfügung: die moderne und die zeitgenössische Kunst. Die zeitgenössische Kunst sollte uns darauf vorbereit haben, nicht mehr ausschliesslich nach Harmonie zu suchen, sondern Kontraste, Spannungen und Diskontinuitäten, Fragmentierungen und Ansammlungen auch positiv wahrzunehmen und somit die Stadt innerhalb eines dynamischen Systems zu betrachten, welches nicht von der bisherigen Ästhetik definiert wird.
Wir haben den Eindruck, dass die Hyperstadt chaotisch ist, und möchten sie durch das Anhängen einiger Adjektive «wegreden». Aber die Hyperstadt ist keine regellose Ansammlung. Sie entsteht durch eine Vielzahl rationaler und logischer Entscheidungen, welche jedoch unterschiedlichen Logiken gehorchen, die oft in Konkurrenz zueinander stehen. Durch die grosse Zahl der Eingriffe ist das Ergebnis für den Gesamtraum kaum vorraussehbar.

Corboz, André: Hyperville (1993)

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Hundreds of thousands of people with hundreds of thousands of plans and purposes built the city and only they will rebuild the city.

Jacobs, Jane: Philadelphia's Redevelopment: A Progress Report (1955)

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However, permanences in the city are not only "pathological." At times they may be "propelling." They serve to bring the past into the present, providing a past that can stilI be experienced. Artifacts like the Theater at Arles or the Palazzo della Ragione in Padua tend to synchronize with the process of urbanization because they are not defined only by an originaI or previous function, nor by their context, but have survived precisely because of their form-one which is able to accommodate different functions over time.

ROSSI, ALDO: THE ARCHITECTURE OF THE CITY (1984)

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Fuller, Buckminster: Dymaxion Map (1943)

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Herzog, Werner: Fitzcarraldo (1982)

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synchrony (n.)

from the Greek σύνχρόνος súnkhrónos
σύν (sún, “with”) + χρόνος (khrónos, “time”)

the way in which two or more things happen, develop, move, etc. at the same time or speed

Etmology dictionary: Synchrony (2020)

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New York Philarmony: Candide: Overture (2011)

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Ligeti, György: Poème Symphonique For 100 Metronomes (1962)

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Harmony in Dionysos: Conditions for the collective behaviour of a mumuration (2011)

  • synchronisation
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Sync occurs through mutual cuing, in the same way that an orchestra can keep perfect time without a conductor.

STROGATZ, STEVEN: Fireflies and the inevitability of Sync (2003)

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We saw that a new form of society is germinating in the civilized nations, and must take the place of the old one: a society of equals, who will not be compelled to sell their hands and brains to those who choose to employ them in a haphazard way, but who will be able to apply their knowledge and capacities to production, in an organism so constructed as to combine all the eforts for procuring the greatest sum possible of well-being for all, while full, free scope will be lef for every individual initiative. Tis society will be composed of a multitude of associations, federated for all the purposes which require federation: trade federations for production of all sorts, agricultural, dwellings, gas works, supplies of food, sanitary arrangements, etc.; federations of communes among themselves, and federations of communes with trade organizations; and finally, wider groups covering all the country, or several countries, composed of men who collaborate for the satisfaction of such economic, intellectual, artistic, and moral needs as are not limited to a given territory.

Kropotkin, Peter: Memoirs of a Revolutionist (1899)

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Kuramoto, Yoshiki: Kuramoto model of Synchronization Visualization (1975)

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Tinguely, Jean: Méta-Harmonie II (1979)

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In space, an open system resembles a chemical colloid rather than a compound. The most familiar and most magnificent open system familiar to all of us is Charles Darwin’s version of evolution, which combines elements of chance mutation, path dependence, and the environment conceived as a colloid within which natural selection does its work.

Richard Sennett: The Open City (2006)

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Unknown: Siphonophores (2020)

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The real being of the will hides itself in harmony, as it cannot be expressed symbolically [...]. The insoluble rest, harmony, speaks from the will without and within all forms of appearance, and is thus not merely feeling - but world symbolism.

Nietzsche, Friedrich Wilhelm: The Dionysian Worldview (1870)

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Unknown: Emergence of synchronized clapping of an audience in Budapest (2016)

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Unknown: Millennium Bridge Opening Day Phenomenon (2000)

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Unknown: Diagram of brainwaves during an epilepsy fit (2005)

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Unknown: Call to Prayer over Fes (2010)

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Livi, Piero: Pelle di Bandito (1969)

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Now, with the gospel of world harmony, every man feels himself not only united with his neighbour, reconciled and fused together, but also as if the veil of Maja has been ripped apart [...]

Nietsche, Friedrich Wilhelm: The birth of tragedy from the spirit of music (1872)

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Subiela, Eliseo: El hombre mirando a sudeste (1986)

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Stockhausen, Karlheinz: Helicopter String Quartet (1996)

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Unknown: Temple of Dionysos (2020)

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Dionysus (as in the Bacchae) has the potential and attributes of both life and death, of instauration and of devastation. He finds expression both in trance and in lucidity.

Steiner, George: Antigones (1984)

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Alma-Tadema, Lawrence: The Roses of Heliogabalus (1888)

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