CONSTITUTION OF ENTROPOLIS

We the citizens of Entropolis, look back on history as a trace that has been left behind. We are aware, that all our actions bear witness of our present life.

1. | Any construction can only be used while its original program is active.

2. | Property is expendable. Owners are prohibited to sell, barter, donate or pledge their land. As soon as the original type of use changes, any right of ownership expires.

3. | All people are obliged to face their lives in a poetic manner to leave behind sublime traces of culture and society.

EXPENDABLE

- designed to be used only once and then abandoned or destroyed

- to expend (verb): to spend; spend in using

Ich liebe den Versuch über alles und der Versuch selbst ist schon eine Skulptur für mich.

There are fundamental functions of which the city forms may be expressive: circulation, major land- uses, key focal points. The common hopes and pleasures, the sense of community may be made flesh. Above all, if the environment is visibly organized and sharply identified, then the citizen can inform it with his own meanings and connections. Then it will become a true place, remarkable and unmistakable.

It is our ancient habit to adjust to our environment, to discriminate and organize perceptually whatever is present to our senses. ... On home grounds, we may begin to adapt the environment itself to the perceptual pattern and symbolic process of the human being.

But no one has lived in the past and no one will live in the future.

The present is the form of all life.

Les habitants d'un territoire ne cessent de raturer et de récrire le vieux grimoire des sols.

Le territoire, tout surchargé qu'il est de traces et de lectures passées en force, ressemble à un palimpseste.

So blickt er, mit diesem »Wir«, über das vergängliche wunderliche Einzelleben hinweg und fühlt sich selbst als den Haus-, Geschlechts- und Stadtgeist.

Das Kleine, das Beschränkte, das Morsche und Veraltete erhält seine eigne Würde und Unantastbarkeit dadurch, daß die bewahrende und verehrende Seele des antiquarischen Menschen in diese Dinge übersiedelt und sich darin ein heimisches Nest bereitet. Die Geschichte seiner Stadt wird ihm zur Geschichte seiner selbst; er versteht die Mauer, das getürmte Tor, die Ratsverordnung, das Volksfest wie ein ausgemaltes Tagebuch seiner Jugend und findet sich selbst in diesem allen, seine Kraft, seinen Fleiß, seine Lust, sein Urteil, seine Torheit und Unart wieder.

The famous cities all suffer from the same faceless sprawl at the periphery. One may reasonably ask, then, if a consistently imaginable metropolis (or even a city), is in fact possible.

Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border city between two deserts.

Everything goes, everything comes back; eternally rolls the wheel of being. Everything dies, everything blossoms again; eternally runs the year of being. Everything breaks, everything is joined anew; eternally the same House of Being is built. Everything parts, everything greets every other thing again; eternally the ring of being remains faithful to itself.

In every Now, being begins; round every Here rolls the sphere There. The center is everywhere. Bent is the path of eternity.

Warhol also noticed that people who went to gallery openings were fascinated not by art on the walls but by the other people around them. The objects were expendabe because life was far more interesting; it was the real art.

[...] This is the opposite of the "romantic ruin" because the buildings don't fall into ruin after they are built but rather rise into ruin before they are built.