Acceleration (n.)

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

At first, like everyone, I liked the effects of light intoxication. Very soon, I liked that which is beyond violent intoxication, when you have passed this level: a magnificent and terrible peace, truly tasting the passage of time

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.

To practice the senses does not mean only to use them, but to learn how to correctly judge with them, even to feel, since we can neither touch nor see nor hear if we have not learned how to do so.

STIMULUS plays with the five senses of its citizens. In each district one of them is exacerbated and thus perceived more intensely. As the districts merge into one another, so do the different stimuli: superimposing and blurring into an ever-changing surround of intensification, attenuation, elusiveness and confusion.

Perpetually seeking the multitude of stimuli, the citizens drift through the city, impassioned by the various sensory experiences.

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.

The spectacle's estrangement from the acting sub­ject is expressed by the fact that the individual's gestures are no longer his own; they are the gestures of someone else who represents them to him. The spectator does not feel at home anywhere, because the spectacle is everywhere.

Our society is characterized by a cancerous growth of vision, measuring everything by its ability to show or be shown and transmuting communication into a visual journey.

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.

Dérive (n.)

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

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.

Everything that moves, is moved by a mover.

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

Acceleration (n.)

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