S1E6 Apollo

KAZUMASA, OGAWA: Lily hand colored II (1896)

THEFT

The inhabitants of HERMES renounce the reasons for moving and acting that they generally know, in order to surrender to the opportunities for theft. They are provoked by the solicitations of the environment. Constant currents structure and limit movement. Pockets allow for hiding and escaping. Fragments attract the inhabitant, symbolising the richness of resistant objects, to be kept or appropriated.

Theft in Apollo: Statement (2021)

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Theft in Apollo: Pickpocket (1959)

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Theft in Apollo: Réseau Métropolitain de Paris (1950)

UNKNOWN: Underground Tubes, London (1908)

Debord, Guy: The Naked City (1957)

FRAGMENT

small piece or PART

especially when BROKEN

from something WHOLE

maintains DOUBT about original / whole

dependant from an UNDEFINED rest

literary works CONSTRUCTED as fragmentary pieces

as REMEMBERED memories or thoughts

Theft in Apollo: Definition of fragment (2021)

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Riabinia, Olena: Loops that return bees to the vicinity of the nest (2013)

Theft in Apollo: Flower and bee (2021)

Theft in Apollo: Variations of Pockets (2021)

POCKET

a SMALL BAG sewn INTO or ON clothing

so as to form PART OF IT

used for CARRYING small articles

ISOLATED area

place to HIDE or to ESCAPE

that also represents RISK

because of its SIZE and SITUATION

place of ACCUMULATION

Theft in Apollo: Definition of Pocket (2021)

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Theft in Apollo: Study of Medieval Plazas (1889)

  • medieval

unknown: Knight's tour (2021)

Maurus, Rabanus: De laudibus sanctae crucis (845)

Lalibela: Temple Christ Sauveur (1200)

Unknown: Rhizome (2021)

Theft in Apollo: Sir John Soane's house (1837)

Theft in Apollo: Jardin des Tuileries (1671)

Theft in Apollo: King's Cross and St Pancras Railway Station, London (1960)

ex Figura: Continuous Intimacy - Between Public and Private (2021)

Theft in Apollo: Hermes: drawing (2021)

Theft in Apollo: zoom (2021)

Theft in Apollo: zoom 1 (2021)

Theft in Apollo: Zoom 2 (2021)

Theft in Apollo: zoom 3 (2021)

Theft in Apollo: HERMES: Orthophoto (2021)

ARSENAL

Une ou plusieurs personnes se livrant à la dérive renoncent, pour une durée plus ou moins longue, aux raisons de se déplacer et d’agir qu’elles se connaissent généralement, aux relations, aux travaux et aux loisirs qui leur sont propres, pour se laisser aller aux sollicitations du terrain et des rencontres qui y correspondent. La part de l’aléatoire est ici moins déterminante qu’on ne croit : du point de vue de la dérive, il existe un relief psychogéographique des villes, avec des courants constants, des points fixes, et des tourbillons qui rendent l’accès ou la sortie de certaines zones fort malaisés.

Debord, Guy: Théorie de la dérive (1956)

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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 behavior 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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Hermes is an Olympian deity in ancient Greek religion and mythology. Hermes is considered the herald of the gods. He is also considered the protector of human heralds, travellers, thieves, merchants, and orators. He is able to move quickly and freely between the worlds of the mortal and the divine, aided by his winged sandals. Hermes plays the role of the psychopomp or "soul guide" — a conductor of souls into the afterlife. In myth, Hermes functioned as the emissary and messenger of the gods, and was often presented as the son of Zeus and Maia, the Pleiad. He is regarded as "the divine trickster", for which Homer offers the most popular account in his Hymn to Hermes.

Wikipedia: Hermes (2021)

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Tradition is somehow related to myth. [...] they help to explain the society. [...] The hypotheses discover the facts and not vice versa; and if you look at things in this way - this is the reasoning - the role of traditions in society is roughly equivalent to that of hypotheses in science.

Rowe, Colin: Collage City (1984)

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For Bresson, then, acting is, like mood music and expressive camera work, just one more way of deforming reality or inventing that has to be avoided.

Ben-gad, Shmuel: To See the World Profoundly: The Films of Robert Bresson (1997)

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Theft in Apollo: Pickpocket: Storyboard (1959)

Theft in Apollo: Pickpocket (1959)

Theft in Apollo: Milano Centrale Station (1931)

Theft in Apollo: Grand Central Terminal, New York City (1913)

Theft in Apollo: Underground map (1926)

Theft in Apollo: Métropolitain de Paris: Coupe d'une station sur caisson (1900)

Theft in Apollo: St Pancras Railway Station (1868)

Theft in Apollo: Temple of Edfu (1)

Theft in Apollo: Ancient Palace (1)

Theft in Apollo: Baths of Caracalla (1)

Theft in Apollo: Medina (2021)

Rowe, Collin: Collage City (1978)

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Theft in Apollo: Pocket next to pocket (2021)

Theft in Apollo: Pocket into Pocket (2021)

Theft in Apollo: Hermes: drawing (2021)

Theft in Apollo: zoom 2 (2021)

Unknown: Paris, L'Opéra, Superposition des lignes (1912)

Unknown: Ouvrage de la Place de la République (1910)

  • paris

PIRANESI, GIOVANNI BATTISTA: FORMA URBIS ROMAE (1756)

Theft in Apollo: Moray Terraces (900)

unknown: bee's vision (2013)

Butterick: 5564 Sewing Pattern (1950)

unknown: Fès (2021)

Lichtenstein, Roy: Drowning Girl (1963)

Bentley, Wilson: The Snowflake Man of Vermont (1885)