cinemetrics ch5

8/7/2019 cinemetrics ch5

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Now that you know how to generate six kinds of imagspaces,usinga moving architectural drawing system, yoready for' assembling - the putting together of a Cinedrawing of your day a spaceyou are analysing,orthe spyou are generating. This section also introduces you toadditional techniques to develop further the moving imand spacesyou have been working on usingCinemetr ics

Wor ds i n b ol d a re Keywo rd s f ound on p ag es 2 60 -2 6


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188 First, let's remind ourselves why we arecreating drawings that move between different kinds of Images Because, aswe haveshown, movement isno longer understood asonly atransposit ion of objects inspace Instead, i t isa lsoatransformation of the openwhole tha t happens in t ime when we consciously frame, deframe and refrarne setsofinformation from the whole The breaks inour sensori -motor systems exp lored in th is chapter help usto understand inmore detai l what this means When our fee lings no longer resul t inactions, we can understand movement for what i t is:notmerely anactivity that covers distance intime, but a qualitative change in duration - in the open whole Creating optic andsonic imagesin the breaks between affection and action can leadto forming time images Within these imagesmovement isaqual itat ive consequence oft ime rather than time being a resul t o f movement inspace Using adrawiog system based onthese relationships between time and movement canhelp usto address the current expanded field of cultural andecologicalrelations within which architecture ISspatiallyand temporally embedded

Traditional assembling - editing or montage Infi lm - asintypical architectural animations, entails piecing together shots ina linear, causalsuccession so the shots describe sensori-motor connections between sequential events This gives usanind irect image oft ime asa consequence of movement or transposi tion inspacerather than atransformation ofthe openwhole I In Deleuze 's phi losophy off i lm, 'More than sty le of cutting , montage expresses a log ic of composi tion - aconceptor a regulat ing Idea in the phi losoph ical sensethat informs the system ofthe film globa lly and ineach of i ts parts Montageindicates a particular' organizing principle or agencemen t ofimages in theform of Ideas '2In previous exercises you have recorded activities inyour'daily l ife - getting up, interacting with other people, goingforawalk outside You recorded these activ it ies, usingvery control led camera movements In Framing you were askedtoconstruct sti ll -frames ofthe act o fwaking up in the morning In Shoot ing you were asked to constr uct mobile shots of socio-spatial Interactions, l imiting camera movements to mechanical pans,ti l ts and tracks Now in Assembl ing, inaddition to editingprevious work, you wil l usea hand-he ld camera to d irectly interact w ith moving bodies inspace

Exerdse 5 . . 1 : I n t h i s firs t e x er c is e o r ra n ge t h e i m a ge s of y o u r d a y a n d r o ut in e f ro m a l l t he p r ev io u s exercises i n to a c h r ono l o g ic a / ,c o nt in u ou s n a rr a ti ve - I n to a t ra d it io n al I m ea r a s s e mb l ag eCol lect ing, d if fe rentia ting and connecting images isnt something we haven 't done before We do this a ll the t ime in l i feand work Usual ly we descr ibe our day asaser ies of events: leaping out o f bed and getting r ight to work on unfin isheddrawings, not tak ing the time to wake upslowly or think of anyth ing e lse but f in ishing the work we are soexcited aboutSuch adescription portrays the morning asa spatial ordering of movement imagesthat presents time asequivalent to the'normal ' course ofthe day - getting upandgoing to work When we descr ibe our day insuch away, ineffect, we constructanarrat ive of continuous spatial moments sequenced in t ime according to our own personal storyte ll ing sty le Ifwe thinkabout i t, we probably know afr iend 's sty le of narra tion wel l enough that we can predict the general manner inwhich theydescr ibes the ir day even before they start talking We have l is tened many times before and know the ir ' regu la ting idea' - thestyle they developed to create asenseof continuity intheir l i fe Conventional architectural animated walk-throughs rely onsuch normative narratives, constructing apparent continuity out of mill ions of choices of images andsignsthat canbe digitallygenerated incomputer modell ing This style of storytelling isone that belongs with perspective, the printing pressand othertools used frequently when we organise selected blocks of space-time in a linearmanner

Let 's compare the overarching organ is ing princ ip le or sty le ofthe film directors sofarstud ied: Ozu and Godard Ozu edi tedthe clip from Ea r l y Sp r i n g we explored in Framing and Immob i le S e c ti o n s inorder' to create asenseof continu ity The alarmgoes off, the wife wakes up, getsout o f bed, and goes about her chores In the apartment scene from Godard's Con tempt ,analysed in Shoot ing, the screenwri ter and hiswi fe arr ive atthei r apartment, get undressed, bathe, fal l in and out o f anargument, dress andgo out again Such afamiliar sequence of shots in anassemblage belongs to the linear organic regime ofmovement imagesin which our images revealthe habitual sensori-motor' schema of our' accustomed everyday reality Inthis

commonsense world we distinguish between what isobjective andwhat issubjective, what isrealand what isImagiwhat isphysicaJandwhat ismental 3

But wai t a m inute Wasn t the re much more to our morni ng and to the Ozu and Godard f ilm c li ps than the norma tinarrative just described? The stil lnessof Ozu's camera keeps usinterested inthe careful framing of every detail in hspare scenesand sets, and through the neighbours we see that this couple is just one ofthousands whose l ives hava ltered bythe post-war economy inJapan And in the apartment scene in Con tempt , the moods of both characterssovo la ti le we cannot fol low any ofthei r behaviour patterns to log ical conclusions There was the montage sequenci llustrat ion 3_15 which flashed backto ear lier 'scenes in the film and previewed a scene inCasa Malaparte that woucome l ater i n the f ilm The re was more to our mOrni ng and the f ilm c li ps tha t we haveno t consi de red - memory,which p laysa decis ive part inassembling cinematic images or' the drawing system of our day Memory compl icates tframing, shooting, and assembl ing of matter-f lux because i t enters into the process of selecting from the open wholeproblernatises narra tion asan accurate descr ip tion and can even cause usto question what is true Memory a lsoaffour ' p rocess of drawing Let 's see how


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190 . . . [ - - - - - - - iIi t_______ J

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5_01 The assemblage o f the 2nd to 4 th sho ts InOzu s Ea r ly S p r in g consists of perfectly matched continuous movements showing the wifegetting upfrom three camera angles This sequence hasto be shot and reshot several times to give the film viewer the senseof temporallyorgan ic continu ity The wife saction o fge tt ing up hadto berepeated whi le the f ilm d irecto r changed camera posit ions In order to g ive theil lusion of temporal andspatial continuity Narrative continuity isa fabrication incinema and in moving drawing

Memory CircuitsMemory p laysa p ivotal part inour l ives Memory guidesour hab itua l sensori -motor routine when i toperates automatical lyWe hear the a larm in the rnorn iog and our memory unconsciously recol lects that the clock isset to the latestpossib lemoment that we can sleep We open our eyes, see our computer, and our memory reminds usinvo luntar ily that we havework we wou ld l ike to f in ish When we l eapout o f bed , our memory i ns ti nc ti ve ly getsour fee t onto the f lo or , and weautomatical ly know the way to the bathroom and soon Without our being aware, this type of memory converts b locks ofspace-t ime into the objects of our everyday rea li ty , in this case, the objects related to waking up Bergson cal ledth is typeof memory automatic r'ecognition.. I t i sone ofthe reasons we think objects are inspace We are not usual ly consciousofthe process of selecting from matter- flux the b locks of space-t ime that become our famil ia r routine Our narra tivedescr ip tion ofwaking up, or o fwhat we did dur ing the working day and over the weekend col lects and connects most o ftenonly the 'shots' based on automatic recognition

Higher expansion of thought

Immediate Per'ception

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192 Imagine, what i twould be l ike i feach time we awoke, we fel t ' the effect o fcreating anew, not s imply the perce ivedobject, but the more and more vast systems to which i tcan beconnected' No more dul l morning b lues! What ad i fferentrelat ionship we would haveto drawing aswel l Byfocusing on diffe rences rather than the boredom of routine, we don 'thavethat fee ling that i thasa l lbeen done before No more troub lesome questioning: 'How can I possibly contr ibute? 'Instead, attentive recognition supports making the visualisation of what we aredrawing 'new' - something fresh emergingfrom our"own abi li ty to beaware ofwhat we are doing inan expanded fie ld of dynamic relat ions Nothing remains thesamewhen we rea lly take the time to pay attention sowhy would we want to repeat what hasa l ready been done?Memory fue ls the present byadding depth when we frame space-t ime Ozu repeatedly returns to the bedroom oftheopening scene of Ea r l y S p r i n g giving ussuccessive reflective circuits of the room andthe couple asthey changeduring thecou rse o f the f i lm The room i sused f ir st a sabedroom, and then i sa room to dochores i no r have tea w ith ane ighbou rLater i t is used asadining room and a reception room for the husband 's guests Let 's look ata speci fic bui ld ing to seewhatfurther meanings attentive recognition can havefor"architecture

Can you think of any bui ld ings where memory hasentered into the design process?The owner and 'arch itect' o fthe CasaMalaparte, the surrealist writer C urz io Malaparte akaKurt Suckert (1898-1957) characterised hishouse asa 'self-portraitcut in stone' ( r i t ra t t o p i e t ro ) or a 'house l ikeme' (coso c om e m e) Mixed into hisfantastical writings aredescriptions of placesthat recal l the house and tel l usabout h is relat ion to i t For instance, the wri te r, deported bythe Fascists in 1933 to the islandof Lipari, north of Sicily described hisexperience of Imprisonment and Casa Malaparte in his novel T h e S ki n ( L a P e ll e , 1949) :

' I now l iveon anis land,in a melancholy, austere house, which I havebuil t mysel f on aso li ta ry c li ff bythe seaThe image of my longing

'C e l l 461 rema i n s In m y s ou l asits secret cha ra ct er I feel like a b i rd t h a t has swa l lowed its c oge T he cell i s wi t h inme like a c h i ld I n si d e a p r eg n an t w o m an '8

As Malaparte sovividly descr ibes, memory iswi th in usphysica lly Not only does i t feed, l ikean unborn chi ld , on us, butmemory a lsonour ishes usand our work inways both known and unknown Memory imagespop into our mind whena designdecision that we are struggl ing with d igsthem up How?JustasBergson ind icates: the object we are focused ondrawing - saya particu lar feature of a bui ld ing - castsa l ight into deeper strata of our real i ty, finding a resonance with anidentical or s imilar object that moulds i tsel fonto the feature we want to draw Often we don 't even recognise the origin ofthe feature until , possibly, a fter we havedrawn i t Then, becoming aware of i ts origin, we can either rethink whether or notwe want to usethe feature or e laborate on i t in unexpected ways

We have used Bergson 's d iagram of attentive recogni tion to relate speci fics ofthe Casa Malaparte to possible memories ofp lacesthat i ts owner knew The corre la tion isa fabrication, or what Deleuze cal lsa fabulation, but serves to il lustratepotential ways that Malaparte engaged hismemory inthe design process for a m e la nc ho ly a us te re h ou se , w hi ch Ih a ve b u il tm y se lf o n a s o li ta r y c l if f b y t he sea The image o f my l o n gi n g' 9Malaparte borrowed the sta irs that widen upwards asthey leadto the stunn ing roof terrace onthe entry sta irs to theChurch of Annunziata on Lipari the island of his imprisonment Stairsandterrace together form a classicalopen-air Greektheatre - the setting for" imagined dramatic action The main hal lo f the house with i tsstone floor and mural -l ike viewsthrough the large windows is l ike the atr ium of a Roman d om us - recently excavated in nearby Pompeii. l-lalaparte'sfavouri te mistress' bedroom - with i tswood-burning stove - resembles the Alp ine inter io r o f h is youth Final ly ,beyond hisown bedroom atthe rear"o fthe house isthe wri te r's studio - aso li ta ry spaceto remind h im ofh ispr ison cel l in exi le Forhistorian Mar-idaTalamona, the view of Casa Malaparte from the water" islikea Roman tomb, suggesting that perhaps thewri te r bui lt this house asa lasting monument to h imself 10

View from water

Writers stud.o

Favoritas bedroomE

Main hall

Roof/StailStairModern House

Casa Malaparte-- A 1~": 'I' B' '1'''--'''''';''''''///I "~- / ,

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194 Sheets of the Past and Peaks of the Present 2 Rose bud irretrevable memory4 Kane schildhood home

6 Kanebuysthe Inquirer

8 Kane sfirst marriage

10 Kane 5 second marriage

I Xanadu: Kane s dying words: rose bud

3 Thatcher librar y

5 Ber stein s office

7 Nursing home

9 E I Rancho nightclub

II Return to Xanadu5_05 Berg.ion 5 cone applied to the scenario of Orson Welles Citizen Karle The f ilm beg insa t the end of Kanesli fe (I) and then procwith areporter Interviewing various people from Kane5 l ife to f ind the meaning ofh isdyingwords: rose bud The f ilm moves backina teach successive In te rview to reg ions ofKanes past but the repor te r ISnever able to retrieve the meaning ofrose bud which isburanearly childhood memory of Kane 5 Scenario from Carringer. Robert L ThEMaking oiCltlzen Kone Berkeley University of California1996

in thefi lm producer's car When the scene isf irst presented i tpassesquickly and we cannot d iscern much importancethis any-instant-whatever However, through reflection images, first when the wife remembers the incident asa betrayher husband, then when the husband remembers the same scene without seeingits significance, we cansee exampletwo people ref lect ing on the samesheet o fthe past Can you find layersof t ime inyour moving drawings?

Exercise 5 , , 3 . A r r an g e yo u r im a g e s In reverse chronology as 'sheets of t h e p o s t' , p u tt in g t he most recent first Find a structuthat retrieves t h es e i m ag e s f ro m d is ti nc t r e gi o ns o f p o st memones T r yn o t to use a n a rr a ti v e s t r uc tu r e W h at o t he r k in d s o fs t ru c t ur e s a r e t h e re ?The layersof the pastsurround a kerne l o f immedia te perception' , which are peaks or points of the presentcondensing disparate historical moments into asingle point inthe present 13 The imageof staying in bed instead ofgettup isan imagefreed from our hab itua l sensori -motor schema that organ ises our narra tive descr ip tion ofour day We hthe a larm but d idn' t get up Instead,we pausedto try to fee l matter- flux and beaware of our senses These imagesarepart of our normal pattern in the morning They are not movement images They unl ink the l inear sequence of percepaffect, and action How would we descr ibe them acoustica lly or v isua lly?Can we create son ic or optical images of tSonic andoptical imagesemerge out of the affection image of any-space-whatever when we break our habitual sensomotor schema because we cannot act on what we are fee ling In them, objective and subject ive losere levance Sonicoptical imagesopen the way, not to movement imagesandthe organ ic l inear reg ime, but to the t ime image and thefaceted crystalline regime They initiate a process of description that engages, not perception, which occurs inspac

But what about the remembered exper ience of our senses?We altered our normal morning pattern by payingattentionto our body We noted that our joints were sti ff , then smelt coffee brewing and tasted our favouri te muffin Does thisexper ience involve memory? How can we put these sensory stimuli that interrupted our normal sensori -motor routine intothe drawing system of our day?And how do these body experiences influence our architectural drawing?

When we focused on our body sensations, our attention was not moving from object to object inspace- bed to f loor tocomputer - ashappens inautomatic recogni tion , but instead our thoughts were moving in t ime The sound ofthe a larmautomatical ly reminded usi t was morning But, instead of gett ing r ight up, we did something d if fe rent, putting our attentionsomewhere new, We paidattention to our senses Then, amazing ly, we smelt coffee and tasted a muff in How did thathappen? Come to think ofi t , amemory of s it t ing ina cafe lastSaturday morning, with asteaming latte and awarm muffin,the newspaper open atthe movie l is tings, stimula ted usseveral daysla ter to smell and taste the latte and muffin whi le lyinginbed Before we knew what was happening, we searched our memory for o ther s imilar t imes, not connected inspaceorin l inear t ime to our weekend memory We began condensing remembered imagesof latte and muffin from years ago intothe smell and taste we were exper iencing, lying inbed II

When we remember something, 'we place ourselves inthe past straightaway, andthen "transverse aseries of differentp l a ne s o f c o n SC i o u sn e s s" , insearch ofthe g iven memory' Bergson visua lisedth is process 'asa cone, with i ts pointrepresenting the past's coincidence with the present and itswidening volume representing an ever-growing expanse ofcoexist ing past events Eachplane isacross section ofthe cone ofthe vir tual past' - asheet or layer o fthe past 12

Deleuze givesthe classic example of Orson Welles' fi lm Ci t iz e n K a n e asanexample of a f i lm organ ised bypeaksof thepresent and sheets ofthe past The movie beginswi th a peakof the present: Kane'sdeath and hisdying words: ' rose bud 'The rest o fthe film isstructured bya reporter's searchfor people from Kane'slifewho could provide recollection imagesofh im With each interview the reporter leapsfrom the present to aflashback image from Kane's l i fe Sheetsof the pastandpeaksof the present can be experienced inspaceandthe deep focus shots carefully constructed for this fi lm contain withinthem sheets oft ime Searchfor memory in layers oft ime was evident in Contempt Early in the film the wife iso ffered ar ide

A BSheetsof the PastPre,erved in Regions

5_04 Bergson sschema ofhow memory ISpreserved in sheets ofthe past The presentispoint 5 in the ever expanding cone ofthepast One must leapto d if fe rent reg ions toretr.eve memories Redrawn from BergsonHenri Motterond Memory T ran s N M Pau la nd WS Palme r New Yor k: Zone Books 1991(Originally published in 1896)

8'

B"

5 Peakof the Present


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196 memory, which occurs in t ime and can leadusto a d irect crystal image oft ime Aswe learned inMobJ ie Sec t ions, we canact asart is t and l inkco lours forms and spacesfrom layersof t ime, or we canreorganise our observations asa critic lookingfor the significance in details we mayoverlook atfirst

Optical images involve 'pure seeing' that remains 'unassimilated within the ongoing action 14 They emerge from doing butare detached from immedia te action They often help usto learn to see more deeply into our l ives For instance, memoriesof coffee anda muffin, stretching beyond last Saturday inthe cafe, dug up other occasions involving coffee and a muffin- let 's saythe memory of an incident, years ago,that eventua lly convinced you to become anarch itect Do you remember?Itwas on atr ip with your graduating h ighschool c lass, let 's sayto Manhattan The whole group took the tra in , arr iv ing inGrand Central Termina l, s topp ing in the Grand Concourse to grab acoffee and a muffin The volume ofthe space andthe muffled sound ofthousands of commuters footsteps l inger inyour mind The cei ling ofthe vastspace hadjust beencleaned Stand ingthere, looking upat i tsconste llat ions of stars, a tr ip to anAnasazi v il lage,tucked into the sideof acl if f in theSouthwest f loats to mind Amazing, this ancient people had painted the stars above the ir dwell ings on the overhead surfaceof the cliff shelf Recall ing this trip today, you canstil leasily imagine the powerful presence of the silent desert skyat nightfor the people l iv ingthere athousand or soyears ago Evennow ambient e lectric l ightshave not b lo tted out the intenseimmediacy ofthe mil lions of stars surrounding the desert c li ffs Stunned, you now wonder how you could haveforgottensuch a moment

At the time ofthe h ighschool trip to Grand Central Termina l- see ing i ts painted zod iac and remembering the Anasazistars anddesert stil lness- you beganto feel avague but persistent dissatisfaction with your plansfor after-high school Youcouldn' t put your f inger on exactly what was bothering you but those p lans d idn' t interest you any more The forcefu l imageofthe zod iac cei ling inGrand Central had merged with the star-studded overhead surface of anAnasazi cliff dwelling and themil lions of stars in the silent desert sky This mul ti -faceted Image kept popping into your mind atunexpected times But youd idn' t know how to act on i ts dazzl ing allure A personal event of geological magnitude hadoccurred, leaving you unableto respond Your sensori -motor schema broke down Unable to act, you formed anoptica l image based on memory - onlayersof the past becoming peaks ofthe present

Optical imagesemerge with the breakdown of our sensori -motor schema They mark the occurrence of 'someth ingintolerab le , unbearable, something " too powerfu l that exceeds our hab itua l patterns of sensori -motor capacit ies" andresul ting actions This iswhy the image ofthe merged Grand Central cei ling and cli ff paint ings isnot acl iche Ifwe coulddraw all the tempora l e lements conta ined in th is image, we might capture the optical pur ity o fthat moment Ifso ,theimage would combine with ' immense forces' and powers so i t is leg ib le , so i t issomething to be read, not just seen Suchanimageopens us' to powerfu l and direct revelations', connected, not through 'causallyrelated present instants', butthrough memory 15

Now we can begin to answer the opening question: W h at h a pp e ns w h en t he s en s or J- m ot or s ch e ma b r ea ks d o wn a n dp e r ce p ti o n s n o l o n ge r r e s u l t i n a c t i o n ? Duration isno longer"measured indirectly bythe time ittakesto translate movementinto action, which we candraw usingthe sixmovement images Instead, a multifaceted t ime image generates from theoptical and sonic relations that replace action Transposition inspaceis replaced bytransformation intime A crystall ineregime, rather than a linear"narrative, emerges inwhich we intuit the whole asuniversal becoming, aschange andcreativeevo lu tion, inwhich we think, rather than act 16 Now the spaceswe havegenerated through the exerc ises can befed backtothe expanded fie ld that our domestic and workspaces operate in- the speci fic t ime and place of our"existence

You may bewonder ing, 'How can we relate assemblage and the time image to generating spacethrough mobile sections? 'To do this, let'sfirst look at Cassavetes' Face s to seemore specifically what assemblage, broken sensori-motor schema andoptical imagesare sowe havea r icher"graspof what leadsto t ime images

C = a s s a v e t e s ' FacesLet's observe the process of assembling ina fi lm where the characters' sensori-motor schema break down, perceptionlonger resul t inaction and optical imagesform Keep inmind the assemblage that we just exp lored in the l inear and thcrystall ine assemblage of the frames and shots from your daily l ife These crystall ine assemblages help youto understaqualitative differences intime rather"than seeingonly the routine of automatic activities of everyday life Let's look closboth the type of shot produced with the hand-he ld camera and the organ is ing of shots in the final sequence ofCassaFace s This analysishelps usto understand the t ime image, the sub ject o fthe lastchapter More immedia te ly, i the lpto assemble moving drawings inways that can hold attention, not because of some gimmick, but because there isreasomething inthem worth looking at carefully - for instance, the space generated by qualitative change induration

At the beginning of this chapter we defined traditional assembling 01" montage in f i lm asthe p iecing together of shotslinear, causalsuccession so 'the shots describe sensori-motor connections between events' 17 What results is'an indireimage of time' 18 We also generated spacesfrom examining intervals inthe movements in spaceasany-instant-whateve:Initially, the clip from Face s seems to assemble shots by connecting them in a linear; causalsuccession The shots desca sequence of events, just aswe did when we told our friend about our"day - but in th is casenot a common everydaoccur rence When we v iew the openi ng o f the scene ,we a re experiencing movement imagesfrom the organic regimbecause what the husband senses and hisresulting bodily actions, recorded by a hand-held camera, dominate Cassaorgan isation of the opening shots The husband 's motor responses are control ling the space:getting out o f h is car infront o f h is home, dancing into the house running upsta irs, stand ing momentari ly just outside hisbedroom door, runthrough his bedroom to look out o f awindow to d iscover"an unknown man running over" the roof o f h is house (shot3, 4 , 5 ) Up to this lastshot (shot 5), the regulat ing ideaof the clip is the movement of the husband 's body in patternsflow uninterruptedly from perception through affection to action A hand-held camera kinesthetically records Cassavebody movements ashe fol lows the husband The princ ip le that organ ises the shooting and the assembl ing of the opeshots isthe husband's moving body, which expresses the interplay between hissenses, feelings, and actions - hiSsensmotor" schema

In chapter" I Framing , we examined the framing of matter-f lux inwhich Ozu kepth is camera sti ll on the floor for the flength of the shot Inchapter 3 Shooting, we examined the shooting of any-instant-whatever by Godard asslow, mechpans, t il ts and tracks ofthe film camera With the exaggerated hor izonta l proport ions of acinemascope" frame Inth is"chapter we are looking atJohn Cassavetes' fi lm Face s (1968) inwhich he usesa hand-he ld camera This allows the dito construct shots fol lowing the movements ofactors rather than being restr ic ted to the Cartesian geometr ies ofthespacesin which they were filmed The coord inated movement of actor and cameraman generate atopo lo~ica l relat iospace based on the interaction oftwo human bodies and acamera inspace, rather than the more mechanica l movemof tracking, panning and til ting inGodard or the str ic tly Euclidean geometr ical frame of Ozu

Exercise SA E x pe ri m en t w i th f il m in g p e o pl e I n m o ti o n a n d at r es t w it h a c on s ta n tl y m o v in g h a nd -h e ld c a me ro , getting asto y o ur s ub je ct s a s p o s si b le S h oo t t he m f ro m as man y d i ff e re n t a n g le s as y o u c an S e e i f y o u c a n I m a g in e a n i n va r ia n t o r d ery o ur s h oo t in g - o n e i n w h ic h y o u m o ve y o ur c am e ro a l on g some constant v a ri ab l e s uc h a s s i n e c u rv e o r a p a ra b ol a as seen Ii l lu s t ra t io n s 5 _ ' 5 a n d 5_23


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198

-------,I

5_06 Shot I f rom Faces consists ofa dance between the hand-held camera and the husband sdashfrom his car to the front door o fthe house Ingrey isshown the space generated between the actorand the camera inplan and side elevation Dashed linesrepresent one second of duration

0:21


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200

5_07 Shot 2 f rames the ent ry ves ti bu le f rom the l iv ing room as the husbandJumps into the f ramek icking dancing spinning, and looking around He disappears down the hal l as the camera uns teadil yholds onthe empty f rame

-~~~~-~~~~-,I


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-202

0:37

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5~08 S ho t 3 b~g in s l oo ki ng down a t a s ta ir wa y a nd hol ds a s t he h us ba nd a pp ea rs a t t h e b ot tom o f t he s ta ir s H e r ur .s u p t h e s ta ir s a nd t hec am er a f ol lows h im spi ra ll in g up a nd t o t he r ig ht H e t u rn s a t t he u ps ta ir s l an di ng t o c am er a l ev el a nd t he e ar ne ra p an s r ig ht i n a nt ic ip at io no f h i sm oveme nt a s h e e n te rs t he v es ti bu le t o t he r ig ht a nd hol ds a s h e p au se s a t t h e d oo rway t o t he b ed ro om

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I

----;) .i- - - . - - - - _.II---1'----

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5~09 S ho t 4 b eg in s w it h a n ov er -t he -s houl de r s ho t r ig ht b eh in d t he hus ba nd l ooki ng I nt o t he b ed ro om w it h h is h ea d f il li ng t he s cr eeb lo ck in g t he v iewe r f rom s ee in g i nt o t he r oom He r un s a ro und t he b ed a s t he w if e r un s t o t he r ig ht a nd s he e xi ts t he f rame The c aqui ck ly f ol lows h im a sh e r ea ch es a n op en w indow int o t he b li nd in g l ig ht i n h ot p ur su it


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- -204

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Let's return to the fi lm clip:the unexpected discovery of hiswife's infidelity breaksthe husband's accustomed everydarea li ty Her unfai th fu lness isrea l, hehasthe evidence of h isown eyes: a hal f-naked man fleeing over h is rooftop, h isd isheve ll ed w ife Suddenl y i n sho t6 a ll h i smovemen ts s top, hedoes not know how to react Memory i n the form oautomatic recognition, which shapeshabi tual act ion, fai ls h im The action image ofthe fleeing man does not f it ina known patter-n He himself hasjust cheated on hiswi fe How to react?The cheating and cheated-on husband remamotionless atthe window, h is backto us(shot 6) The shot isheld for anunbearab ly longtime, framing just the backshoulder The stil lnessand silence are excruciating Slowly the husband straightens up from the window and finally glh iswi fe He hasstopped actingand isperhaps beginning the process of attentive recognltlon i n o rder to f in da wact inthis new unexpected situation

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1:035_11 Shot 6 againbegins over the husband 5 shoulder, The back ofhisbent head ~illsthe frame ina gesture ofheavysadness T~ecameraholds for averylongtime Hes tarts to s lowlys tand ups traight and turn around to facethe camera In aclose-up - the sensort-motorschema isbroken and now we are Inapure optical image Shot 7 isa close-up zoom ofthe Wife5 face

1:32 1:26

The assembling shifts to a close-up shot (shot 7) of the wife's face,smeared with streaked make-up, recallingthehusband's carwindshield inthe first shot of this clip - a similarity that perhaps suggeststhat neither husband nor wtheir situation clearly We then seethe husband inan over-tbe-wife's-shoulder shot that frames himfull figure ashat h iswi fe , hands inpocket (shot 8) The ir l ife together isnot astransparent asthey eachbelieved What is the remoment? All isd istorted and blurred Nothing isasi t once was

Bystopping the camera and hisactors' physical movements, Cassavetes has created shots that areopimages Thoccurrence of 'something intolerable, unbearable', something too powerful that exceeds our sensori-motor capathe shots that fol low (shot 9 the opening hal fo f shot 10), the husband wanders a imlessly inh isown house, unabbearings, perhaps looking for more evidence inorder to reconstruct the events leading upto h iswi fe 's inf idel ityout o fthe bedroom, into the hal l, then into the bathroom, looks around picks upthe p il lbo tt le used in h iswi fe 'sa ttempt He throws the empty bottle into awastebasket without seeming to make any connection between thebott le , her d isheve lled sta te , and the degree of her unhappiness Abruptly, hemoves out into the hal lagain, backbedroom, and then down the sta irs Attentive recognltion seems to fai l h im - he is unable to connect thisnew ith h isown memory o f the events o fh i smar ri ed l ife

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214 Caught in the d isor ientat ion ofshot 9 and the opening hal fo f shot 10,the husband works h imself into aviolent anger,whichclimaxes when hethrows hiswi fe aga instthe wal l a tthe top ofthe sta irs, f ilmed asaspatia lly deep shotfrom the groundfloor She reacts byslapping h im twice Ina ser ies of rap id intercuts we see close-ups of both her faceand his( the latter hal fo fshot 10through sho t 16)

Inshots 17to 22, we witness the husband fal ling backin to h is hab itua l routine, unable to think about the rupture inh isrea li ty or react innew ways to i t He walks down the sta irsagain, enters the kitchen, takes acigare tte from a box ontop ofthe refrigera tor He returns to the sta irsand sitson them, l ightsa cigarette, throws the packup to h iswi fe who isnow alsosit ting onthe sta irs, then tossesher h is l ighter She iss it ting in the same posture asher husband (shot 18,4:50) She beginsvio lently coughing, then hecoughs What fol lows isasequence of movements inwhich husband and wife mirror eachotherThey have sunk back into habitual sensori-motor patterns that the realities oftheir simultaneous infidelities could not breakTheir habitual movements underscore their futi le attempts to break free andcreate something new

At the end ofthe clip, we seethe sta ircase where much ofthe action just descr ibed takes p lace But now i t isemptyCassavetes holds the camera on the stairs, creating anoptical image that lets usseestarkly the stagnated emptiness ofthecouple's life together Cassavetescreates an optical image inwhich he shows usthat the husband andwife's habitual sensori-motor schema of relat ing to eachother cannot cope with the ir rea li ty This opimage marks the occurrence of 'someth ingintolerable, unbearable', something too powerful that exceeds their routine patterns of relating sensesto actions 20 Weexperience directly inthis shot ananswer to our opening question: " Wh a t h a pp en s w he n t he senson-motor s c he m a b r ea k sdow n an d p e r c ep t i on s no l o n g er r e su l t i n a c t i o n ? Numbness, bewilderment, res ignation, an inab il ity to think or act - these aresome ofthe reactions we see in the Faces clip Usual ly these kinds offeel ings frighten usand we quick ly avo id them and tryto resume the normal narra tive of our l ife However, anopimage can form from the break insensor i-motor schema whichallows usto reallysee what ishappening

How canopimages bevaluable indeveloping our architectural drawings orogenerating spaces?They canmake accurateseeingof a problem inan expanded field of relations possible Before we canbegin thinking about a disturbing situationinmeaningful ways, we need to see i tasclearly aspossible What iswrong? Why the breakdown? No amount ofth inkingabout acr is is ina time image wil l amount to anyth ing i fwe don 't tru ly understand the situation the crisis is immersed in- the situation that suspended ouroroutine responses We need to rea lly look atthe particu lars ofthe breakdown and the irrelat ionships inawider f ie ld inorder to beg in to comprehend what isgoing on

For instance, we haveseen inour three film examples the breakdown insocial -spatial relat ions Ozu 's f ilm isabout thedisruption of traditional domestic life bythe new 'salaryrnan' professions The commuting husband isquickly bored bythe routine, missesan important r itua l to honour h isdead son and carries on anaffa ir w ith a co-worker: The couple isreconci led atthe end ofthe film, but the last images are b il lowing smokestacks - symbols ofthe new industr ia l economy ofpost-war Japan Godard's f ilm, l ikemany hemade in the I960s, isacr i tica l take on the dominance ofAmerican cul ture andconsumer values inpost Second World War Europe We witness the tyrannica l rule ofthe vulgar Hol lywood producer overthe livesof the European characters within the ruins of a now dead classicalEuropean culture

We haveseen how Shigeru Ban confronted the cha llenges of creating a reclusive home and workp lace in the hearto f adense contemporary metropo lis We alsohave exp lored how Curzio Malaparte created acomple te ly origina lcontemporary home from his own l ifeexperiences of Fascism,wor ld war, and exi le

Allthree fi lms also give usglimpses oftoday's ecological challenges They depict modern modes of inhabiting andusingland, especially incities and suburbs These interventions disturb in unprecedented ways our ecological relations asmuch asour socia lones Archi tecture can bea regenerative too l But f irst we need to look close ly atthe eco logica l condi tions our

industrial habits haveengendered to fully understand the possibil ities for alternatives Some of the disruptive condishown in the films but not asopimages ~ the b lighted areas in Ea r ly Sp r in g the intrusion of consumer values inthelandscapes of Con tempt , and the boredom of suburban l ife in Faces

Before even beginningto think about how to address the cultural andecological breakdowns inpost-industrial AsianEuropean and USculture, we need to rea lly look d irectly a tthe d isruptions themselves, aswe just d id when we staempty staircasein the lastshot of Faces We need to makeopimages inour drawings, connecting them to anexpanof relations through attentive recognition Imagine showing your client. acommunity group, or agovernment amoving opimage created through attentive recognition of aqualitative change inrelations that helpsthem grasptheofcontemporary socie ty No designso lu tion forms part o f anop image Something 'new' iscal ledfor but i ts exact nyet to bed iscovered For now we needto look d irectly a tour accustomed designprocedures inwhich socia l re la tioecological systems areoften not considered Then, after makingopimages that examine the breakdowns inthese reandsystems,we canbegin to putthe spacesgenerated through the first four exercises into relations with them

Ifwe look atthe durational reality of these socialand ecological conditions today asopimages, then the possibil ity od if fe rent wor lds in the making beginsto arise The opimage can open the way to the time Image andthe crystaregime, where we canthoughtfu lly consider a problem that we have looked atcare fu lly Inchapter 6 Cyberne t i c Sexplore the time image and itsrelation to droawingan architecture responsive to the cultural and ecological conditiohave created a rupture inour accustomed responses


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5_15 Shot 10consists ofa longshot f ramingthe s tairway from below The husband s lowlywalks down and turns to his r ight f rame lef t in toanother off -screen space The camera holds onthe empty frame for a moment and then pans lef tf raminga low angle shot of the kitchenHeenters the frame fromthe r ight The camera holds ashe pauses The camera pans r ight ashe disappears offscreen to the r ight andreappears In the same frame ofthe s tairway from below He runs upthe s tairway and disappears offscreen atthe top of the s tairs to ther ight We see the wifethrown into the top of the frame onthe s tair landing pushed by her"husband Sheleans against the wall asthey arguea t t h e to p o f the s ta ir s


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218

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S_20 Shot 19the camera isonthe f loor looking upat the husband s it ting onthe bottom s tair with ashor t wall in theforeground HeIS smoking hishandsand the smoke fromhiscigarette are the onlymovement in the shot He coughsas well Shot 20is f rom the s tairslooking up atthe Wifestillcoughing Shot 21he continues smoking andturns to look up"at hiswife Shot 22 she hasstopped coughing- h er h ead IS now inherhands

5:45-7:16

5 21Shot 23 the f inalshot the camera looks upthe s tairs The husband turrrsaround and leansagains tthe oppos ite wall The wthe same Hegetsup walks upthe s tairs s tepping over her and disappears to the r ight atthe top of the landing She gets up walkss tairs and disappears to the r ight atthe top of the landing He crosses her path atthe landing then s lowlywalksdownthe s tairsandown again She appear"satthe top of the s tairs walks down and s tops ashis legsareblockingher way He lowers his legs to let hShe walks s traight into the camera frame and turns r ight f rame lef t into the kitchen ashe walks backupstairs Hedisappears to ththe top of the landingThe camera holds onthe empty s taircase


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224 Cassavetes' Faceshashelped usdemonstrate what assemblage, broken sensor-i-motor schemaand optical images areIn the next chapter : we exp lore the relat ionship between assemblage and the time image in the generation of space

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242 image cybemetical iy Inother words, some features ofthe output _ the origina l a ffect image _ return to usin transformedways that makea diffe rence, changing us Aswe examine our exper iences we can seethat our sensations aswel l asimpulses, actions reflections and relations areactually caught up in multiple cybernetic relationships Even though someimages maybe connected inwhat appears a linear manner, they eventually form a cybernetic circuit These cyberneticrelationships reveal alternate routes of becoming conscious being asign, making images and drawing the spaceswegenerated inMo b i le S e c ti o ns The resulting assemblages benefit from our thinking Inthe time image ifwe don't lose touchwith the ir relat ion autopoiet ical ly to our body They make possible our development ofa regulat ing ideathat permeates our 'moving drawings, enabling them to communicate, not a simulated reality, but a concept Cmemeu drawing isa process, notof abstract replication, but of embodied thinking relationships revealalternate routes of becoming conscious, being asign,making images, and drawing spacesthat we generated in Mo b i le S e c ti o ns These assemblages benefit from our thinking inthetime image i fwe don 't losetouch with the ir ' relat ion autopoiet ical ly to our body They make possible our development of aregulating idea that permeates our moving drawings enabling them to communicate, not asimulated reality, but aconceptC ,nemet n c drawing isa process not of abstract replication, but of embodied thinking

The fabulation we explored inexercise 6 I resul ted ina mul tfaceted time Image The thinking you then did in thetime image by assembling increasingly disjunctive image sequences fed back into your original shocked affect image thatsuspended action The thinking changed the affect image Itopened up the possibil i ty of a response Understanding thiscybernetic process isa fundamental feature ofthe cybernetic-organic architect inthe process of making Cinemetnc movingdrawings But, regardless ofwhether you are working on or off the computer, attentive recognition of your cyberneticprocesses cansupport your participating creatively inyour own and architecture's evolution

Let's usethe Raybould House to exemplify this cybernetic process As discussed in Framing and Immobile Cuts, the imageswe frame ineveryday life,fi lm and architecture are composed from the three basiccategories of direct appearances"asthey pop into the mind' 10 We make images aswe scrutinise what appears, composing them within or across the threefundamental categories that Peircedescribed asfirstness secondness, and thirdness When we scrutinise qualities ofd irect appearances, suchasco lour ', texture , smell , we are in f i rs tness Ifwe frame animage in th is sta te , i t i sanaffect imageWhen we scrut in ise facts _ the speci fics ofthe physica lwor- ld _ we are insecondness Ifwe make animagewhen we areinsecondness, the image ise ither' asmal l fo rm or a largeform action image When we scrut in ise patterns and context,observing the whole , lawsor theor ies, we move to thi rdness, framing a relat ion image We alsod iscussedhow the impulseimage forms between anaffect and an action imageand reflection images form between action and relational images

The Raybould House canil lustrate these three basiccategories of what appears sothe above discussion isclear' Beforedoing Exercise 6:3 , read againthe comments ofthe architectural awards jurists Are there any that spontaneously describethe KolMac addition? Spontaneous sensing involves awareness but with 'no definite linkage to an object' II This isthestate of firstness - feeling while experiencing qualities without yet connecting specificallyto the house itself Inthis state, weare total ly immersed in the present We are sense-architects who draw architectural affect images in any-space-whateverMany architectural drawings noted on scraps of paper aremade infirstness Let's usethe three basiccategories of 'directexperiences' inthe next exercise to understand anarchitecture that seems strange to you (You benefit from repeating thisaswell asallthe exercises Repeated practice isthe basisof forming new sensori-motor responses)

Exercise 6,,3: I n a n al ys in g a s tr an ge , u nc an ny o r u n fa th om a bl e s pa ce s uc h as t h e R a y b ou l d House, s ta rt a t t he mo s t baS ICl e ve l w h ic h IS o r g an i si n g y o u r a n a ly s is a c c o rd i ng to t he t hr ee b aS IC categories o f q u al it ie s f a ct s a n d r e la ti on s d is c us s ed a b ov ea nd i n c h ap te r I F ra m in g F ra me t he I ma ge s o f t h e h ou se y ou r es ea rc he d a s c lo se -u p iconic a ff ec t I ma ge s i n w h ic h t he c ol ou r,t ex tu re q ua li ty o r s ho pe o f t h e f or m d om in at es r at he r t ha n a ny I de nt if ia bl e n or mo uv e f ea tu re G at he r a ll t h e f ac tu al o r I n de xi co li nf o rm a ti on y o u f o un d a b ou t t he b u il di ng , m a ki ng indexical a c ti on i m ag e s A n d f in a ll y i nt er re l at e t he v a ri ou s i co n ic q u al it ie s o ft he b ui ld in g' s a ff ec t I ma ge s w it h t he b Ui ld in gs , nd ex es , d ev el op in g a p at te rn a bo ut t he a rc hi te ct ur e i n a symbolic relat ion

I ma ge B e s ur e t he s pa ce y ou g en er at e r es po nd s to s p eC i fi cs o f c o ns tr u ct IO n , u s e, a n d l a rg e r s o ci o- e co lo g lc o l f o rc e s, a s wellh is to r ic a l m e m or ie s o f t he context b ec au se t he se a re a ll direct a pp ea ra nc es t ho t n ee d to b e e m b od ie d i n y o u r m o v in g d r aW

The Archi tecture magazine Jur is tsd id not know how to respond to the affect imagesof the house they con jured fromphotographs They stared at itsshapes,even beganobsessing about them Optical and sonic images emerged asthe wofthe Juryattest to A time image,which questions descr ip tion, narra tion, even think ing i tsel f, can form atth is point oconfusion i fwe do not retreat to familiar habits Aswe have experienced inthe last exercise, the time image hastransusto the crystal line reg ime where the tru th ofwhat we exper ience and even the future of archi tecture are incr is is Nwha t? How dowe move f rom here sowe canac t?

-- Str ucturaldiagramtr ansformationbetween eXistingand new houseposition:X_117948Y_ 2 3 55Z_-23790

.._. Interior detail at b athtubposition:X_ 117953Y_ 2 3 6 9Z_-23345

Interior d e ta i I a t seatposition:X_117924Y _2 33 IZ_ -23312

6_11 The shell o f the house isconst ruc ted through computer numerically controlled (CNC ) cut r ibs f rom I inchplywood separates tandard 2x 45


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244 Tofree ourse lves from being stuck in the unfamil ia r imagesof the spaceswe generate or in the strange imagesof theRaybould House, we canstart re-assembling our moving drawings in unorthodox combinations of Peirce'sthree basiccategor ies of 'di rect appearances' Then we can frame a new set o f information, which enables usto act because we havere-formed cybernetically our original affect image of the building infirstness that left ussuspended This re-forming freesusfrom the any-space-whatever' where our habitual response patterns first collapsed Video artist Paul Ryan's diagram

.. '6_12The she ll o f the house isconstructed thl 'Ough computer numer ica llycontro lisd (CNC) cut nbs from I inchp lywood separated bys tandard 2x 4s

of the Relational Circuit (i llusrn), presented in Los ing Per spec t i ve demonstrates this cybernetic process Both the RHouse and the Relational Circuit developed usingnew know-how - cybernetics and topology - to develop anewabout - how to respond to the Second Moderni ty" Let 's use the house and the circu it asexamples for how to devdesignassemblages that canfree usfrom inaction

The Relational Circuit helps usthink about the cybernetic interplay of the design process by diagramming relationshcontinuum of Pei rce's three categor ies The categor ies are not cuts: they form one open-ended whole Keep inmicybernetics hasto do with differences Inrelationships that make differences inother relationships that are all intercoNow, imagine yourself moving through the Relational Circuit in attentive recognitlon, activating your mind andsensori-motor system Differences incategory/position within the circuit's continuum make differences in relationshthe other ' categor ies/posi tions For instance, the middle d iagram inthe second column onthe left in i l lusm shows hsecond nesscontains firstness, which changes firstness because it has been affected by secondness The third diagrahow secondness iswithin thirdness, which changes both secondnessand firstness

6_13 Computer model ofthe composite shell ofthe house addition The frame Indicated the most critical area of shell structurally


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246

6~14 and 6_15 Construct ion ofc r it ic al a rea of composi te she ll s truc ture

Eachof Peirces categories andits corresponding position inthe Relational Circuit also indicates a particular way of uyour mind-body and generating space Inthe category/position offirstness (second column on the left first diagramm),you simultaneously make and engage affect images forming any-space-whatever Inthe loop inbetween firstnessecond nessyou compose the impulse image and itsoriginary world space(right column, first diagram) Inthe categoposition of second ness(second column on the left, second diagram), you form action imagesthat contain affect andbut are primarily about action ineither askeleton or respiration space Inthe position in-between secondness and t(right column, middle diagroam)you shapethe reflective image and itstransformative space Inthe category/positionthirdness (second column on the left, bottom diagram) you contain affect, Impulse, action and reflection ina relationimage and a symbol space There isno image in the loop between thi rdness and firstness (right column, bottom diaInthis empty position there isan opportunity to stop the generation of images and spaces before starting another ro f movement Here you can see ina l ld irections atonce Because the circu it is intransit ive, when you are inanyoftcategories/positions, you can move ineither direction, thus reassembling images and spacesasa result Changes incategory/position make cybernetic changes inevery other category/position Inthe loop between thirdness andfirstyou not only can change direction but a lsoreconsider the whole ofyour movement

Relate the images ofthe Raybould House or the images you made for exercise 6 3 to categories/positions inthe ReCircu it What resul ts isad iagram ofthe cybernetic interconnections between the images Did your indexical imag(secondness) contain the feelingstriggered bythe iconic affect images (firstness) aswell astraces of impulses? W

6_16 l .aoora torv tes ting of s t ructural f ai luno ofcomposite she ll Sensors indicate the s truc tura l im its of th is untes ted construct ion


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248 feedback loops can befound inyour f inal symbolic relational moving drawings (thirdness)? How isyour understanding ofthe relational images of the Raybould House changed by considering and incorporating the cybernetics of their formation?

Now let 's connect the three categor ies ofthe Raybould analysisto the signsof ourse lves and to the imageswe make andthe ir"spaces inorder to ful ly understand your role in th is process When archi tects observe what appears to them inthestate of firstness, they form signsof themselves assensa-architects and make affect imageswith any-spaces-whatever" (i llus6_22) In-between firstness and secondness, they are impulse architects and form impulse imagesand originary spaces(illus6_02) Insecond nessthey form signsof themselves aseither detail architects (i llus 6_08, 6_10) or large scalearchitects orboth Inthese signsthey make action imagesin skeleton and/or respiration spaces In between secondnessand third ness

they are change-reflector architects and/or architects inan expanded field making reflection images intransfon~atispaces In thirdness, they areartist-, critic-, and cybernetic architects (1llus 6_0 I)and make corresponding relationand symbol spaces These signsshould r inga bel l InMo b il e S e c ti o n s we analysed your walk outside and alsothe CMalaparte clip to Identify the signsof ourse lves inan ord inary everyday activ ity Again we find d irect l inks betweenknow from everyday life and architectural drawing

6 17 and 6 i8 Mobile section through the s ideof the house showing how the space of the house isgenerated between theroof ofthe ~r"iginalhouse andthe contour geometries ofthe site


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250 Final ly let 's consider how you can begin to act aga in bymoving from time imagesto action ones inconscious cyberneticawareness Also, let 's be sureyou understand how your new sensori -motor schema now diffe rs from the one that gotyour"stuck inthe first place To move cybernetically entails alertness and constant awareness inorder to make choices Ournew sensori -motor schema isnot automatic Instead the new sensori -motor system ofthe cybernetic archi tect involvesconstantly making selections and being persistently attentive Our new habits demand attentive recognition aspart o f

6_19 and6_20 Mobile section front to backfrom the oliginal house to the addition

our new sensori-motor system 12 We thus can consciously relate what we draw to d irect exper iences, rather thanservo-mechanisms to our computers by only interacting robotically with electronic signals creating imageswithrelation to life Cybernetic-organic architects, war-king autopoietically Within the expanded field of architecture, contake part in evolution


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252 De-generation of the 'New'How can Clnemet r i cs help usunderstand the cybernetic process for designing moving drawings of possible worlds in:he ~aklng, such asthe Raybould House? Perhaps we can uncover anaffect image underlying a design embodying thenew, such asthe Raybould House, that canhelp usunderstand aspecific cybernetic process that generated a cyberneticarchitectural seed Inrelation to the expanded field of cultural and ecological relations

Exerdse6A: H ow c on C in em e tn cs h el p us u n de r st an d t he c y be r ne ti c p r oc e ss f or d e si gm n g m o v in g d r aw in g s of p o s si b le wo r ld sIn t he m a ki ng , s u ch as t he R ay bo ul d H ou se ? L et 's d ec on st ru ct t he R ay bo ul d H ou se starting w i th o u r i n it ia l r e a c tI O n to it to se ew ha t a ff ec t i ma ge m ay h av e h el pe d l ea d t he a rc hi te ct s to somet h i ng so new - to d ifferen t w or lds in t he m aking ,

What in the wor ld is this?( i llus 6_ 0 I) I see a llsoris o f w iggly dynamic shapes They look l ikep lay dough floating around insomething But Iseewhat might bea road leading to arectangular shape, with another" rectangle off to the r ight Let meenlarge one ofthese rectang les for acloser look? ( il lus6_03a) Idon' t bel ieve my eyes The shape on the left looks l ikeanaer ia l v iew ofa house roof! Sowhat's that thing to the r ight o f i t that looks l ike i t might eat the house?

By ~utting ourselves. In:he posit ion ofthe Archi tecture awards jury, we can look atthe Raybould House with fresh eyesWe IIstar t our semiotic de-generation with the ful ly developed proposa l ( il lus6_03), which isa relation image in asymbol space,framed byKolMac, cybernetic archi tects What we are looking atisan addit ion to atrad it iona l sal t-boxhouse The drawing also shows existing features ofthe site, such asa stream flowing across the land; akidney shapedswimrrung pool aswel l asa barn

We de-generate from the relat ion image ofthe Raybould House to ear lier drawings to help usunderstand how thearchi tects assembled i llus 6 0I We wil l ana lyse the relat ion Imageof the house byfo llowing two possible paths ofde-generation so y~u canseeth~ relational possibil i ties for-your own drawing system These de-generating assemblagesare thereverse ofthe signswe combined for the walk inMo b il e S e c ti o ns

6_21 Computer-generated phys ical model ofthe house rendered In a homogeneous material

Inthe relation image the architects factored intheir intentions ascritic architects We seethese intentions in"il luThey gener"a tedthe patterns for the addit ion by hybridising the ' contour l ine traces atdifferent anglesthrough thehouse and landscape 'using var ious parameters The resul t isahousethat is' asystem of p lanar surfaceswi th r idpeaksand valleys Not so dissimilar to alandscape that canbe defined asa system of surfaces of variable curvatureridges, peaks andvalleys' 13

The de-generating route from the cri tica l drawings b ifurcates One pathway leadsto a reflection image ofthe hoina transformation space inwhich the architects have considered how the house isin anexpanded field of relations(illus 6_0 2 ) These imagesreveal the architects' struggle with the demands of the local ecology, the restrictions of lconstruction practices and the desires ofthe clients The architects not only created anopimage butthey alsofigurehow to construct the house usingthe computer Bygenerating the form ofthe house from the contours ofthe exisand site, they generated a spacewhich ispari of the watershed of rainwater catchments ofthe site, potentially bringhouse backto the close relat ion i t had with water , soi land nutrient cycleswhen i twas afarm house The exist ing kshaped swimming pool isa signthat a tsome point in i tsh istory the useof the property changed from afarm to anweekend retreat, thereby losingthis soil-based link to the ecological processes of the site

From the reflection image the drawing unfolds to the house ina respiration space inwhich the architects are large-actors We seeth is large-form action image in the samedrawings that revea l the ref lect ion image ( il lus6_03) Thearchitects developed their drawings by exploring the larger situation of the expanded field of architecture, which thchanged their drawing actions Inaddition to cross-categorical transforrnations (evident when we look atthe reflimage) cross-scalar transformations areintroduced Considered inthis way, the hierarchical interrelation of scalesone that isnetworked between scales' 14

The drawings in Il lus6_05 and06 also evocate possible Impulsesof originary spacesthe architects might haveexpewhi le working The inter im spacesof the house addit ion suggest the primal she lters of caveor womb Having meaddition With the existing landforms, the interior feels asif it issheltered within the earth itselfThe archi tects not only hadto grapp le with a rea lc l ient and budget for the house, they hadto devisea system to bhouse With local contractors They developed a controlled numerical computer cutting system of ribs, which couldconstructed A foam-like substance was planned to construct the shell of the house, anda lawn mower-like machinhave been used to shape itsform (illus6_11-6_13)

From here we de-generate to the il lustration of vehicles (illus6_22), which the architects made assenso-archltectsvehicles are uncannily familiar forms, which we cannot exactly place Isthat a phone or a soap dish?Infact these sobjects areall derived from hand-held tacti le objects from everyday life that have been hybridised to create chimerformsWe can follow another combination of signsthrough the drawings, which reveal the architects work asartists andreflectors From the cri tica l drawings instead of moving to ref lect ing on expanded fie lds, we goto I llus 6_05 and 0they studied, aschange-r"eflector architects, the relationships between the functions accommodated inthe existingand the addit ion From here we fol low the path descr ibed above from drawings 6_05 and 06, showiog possible imoriginary spacesthe architects might haveexper"ienced while working We move from here to the vehicles, madearchitects Either route leadsto the same response to our"bewildered question:

What in the wor ld is this?"


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254 , I ts a house I"

I t i sahouse that hasevolved from the affect image formed bythe archi tects tacti le exp lora tions We havefound what wewere looking for We haveuncovered anaffect image under ly ing adesign embodying the new'! No wonder the RaybouldHouse looks like something J cou ld hold inmy hands It isacybernetic seedfor new worlds in the makingthat emergedautopoietically from identifiable body experiences

The methodology of Cinemetrics detailed inthis chapter and in previous ones can help usgenerate new architectures that,l ike the Raybould House, beg in to address the cul tura l, eco logica l and mater ia l condi tions ofthe Second Moderni ty Inparticular, inthis chapter we have explored how multifaceted time images; engendered when our sensori-motor reflexesbreak down, g ive usthe opportunity to imagine d if ferent wor lds in the making These alternatives, when we rea lise theyareembodied autopoietically inourselves, create new feelings that canfeed back to the affect imagesthat stopped usin ourtracks changingthem and releasing usfrom the grip of inaction New sensori -motor schema begin to develop that enableusto draw cinemetr icol ly inan expanded field of considerations that responds cybernetically to both the new know-how ofelectronic computers and the new know-about of architecture inthe Second ModernityYou are now a cybernetic architect, ready to generate new spacesasseeds of different worlds Inthe making

6_22 KolMac svehicle~ were their first exercise inexploring organic rather than mechanical hybrid forms derived from familiar hand-heldobjects such astelephones and bottles

Ulrich Beck, R i skS oc ie t y Towa rd s aNew Modern it y , Sage Publications(London) 1992

2 Deleuze Cinema 2 pp 2 7 2 , 2 7 33 Rodowick, Gilles Deleuze s Time

Machine p 804 Raybould House', Archi tecture, Vol90, #4 Apr il 200 I, pp 108-9

5 Deleuze, Cinema 2, p 2746 Deleuze, Cinema 2, p 275

Rodowick, Gilles Deleuze ' s T imeMachine pp 9 7 , 8 37 Rodowick, GillesDeleuze s Time

Mach ine, p 138 Deleuze, Cinema 2, p 27 79 Rodowick, Gilles Deleuze ' s T imeMachine, pp 84 86, 85

10 Merrell, 'Thought-signs, sign-events' , p 3

II Merrell, 'Thought-signs, sign-events'

NOTE

p 2012 Paul Ryan, 'From Video Fethe Relational Circuit to ThLeonardo and 'A Signof ItsSemiotic Model ing, eds F MM Anderson, Mouton de(Berlin/New York), 1 9 9 1

13 GA Houses, 59, pp 105-1014GA Houses, 59 pp 105-10


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The Raybould House is just one of many indications thatwe are experier cing a fundamental shift as architecturaldrawing moves frorn the drafting board to the computer'screen" We argue that this shift is as radical as the 15thcentury Florentine change from a handcrafted to amechanical culture, where perspective signalled a new wto understanc and represent the world, Contemporaryscience and philosophy can help us frame and understandthe consequences of today's paradigm shift for ourselves,for architecture and for' our ' world, but nothing can repladirect experience. Our' own personal sensori-motorexperiences of this shift ultimately ground and guide us incoming to terms with our' unfamil iar' world.

. . .. !." t.:':1


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25 8 Inthe course of exploring Cinemetrics you were continual ly askedto check our words with your own exper iences:framing matter- flux asathought-experiment asyou woke up in the morning, and then asa method of selecting computergenerated images of architecture as immobile cuts or intervals inflowing matter-flux: shooting any-instant-whateverrather than privileged poses asa way of understanding duration ascontinual change and understanding mobile sectionsasa way of generating architectural space inexpanded social and environmental relationships; and assembling time imagesinnon-chrono logica l ways The laststep was checking our words with your own direct exper iences of d isturb ing affectimages asthe basisfor-a new sensori-motor system with which you cangenerate spacesand designassemblages that arecybernetic seeds ofd i f fe rent wor lds in the making

NOT

The digitisation of cinema has supported developing the methodology and tools of Cinemetrics which examines the shiftin the sensori -motor schema ofthe mechanica l to the cybernetic archi tect The dig it isat ion a llows usto more close ly notethe kinds of movement and time images produced in f i lms - something we are better able to understand through repeatviewings - by isolatingframes, slOWingdown shots, identifying the sixkindsof movement images and experimenting withdifferent modes of assembling images The Cmeme tr ic methodology andtools also help usto create computer generateddrawing systems basedon cybernetic recombinations and feedback loops rather than static picture making Cinemetricspromotes the simultaneous development of a new know-about architecture and ourselves along with the new know-howof digital tools

Your new C,nemetric knowledge of how imagesareframed, shot and assembled wil l make you not only a lert to howyour own sensor-i-motor system behaves, but also to how our media-saturated environment preys on people's emotionsCinemetncs ismore than a preserve of complex concepts It isamethod ofturning everyday image making towards thepressing issuesand challenges of today - where architecture canplaya significant roleThe pages of abook tend to form l inear arguments, but we continual ly encouraged you to skipahead and go backwards inthe text The i llustrat ions askyou to occasiona lly turn the book around side-ways and upside down aswel l This isby design,to encourage you to make sense ofth is mater ia l inyour own time and inyour own way, and to rea lise that i t is not a recipeor formula , but the framework of acybernetic system for making archi tectural drawings that moveWe are just a tthe beginning of something new Your persona l development of Cinemetric too ls is just the first step- andwhy we consider Ita seed ofworlds in the making The ult imate development of a more detai led drawing system l inkingdesign, social and cultural participation and communication, building production and performance evaluation, and ecologyisultimately a collective endeavor: The grand figure of the professional architect that the mechanical draftsman supported isbeing replaced by networked cybernetic-organic architects - acollective body joined through computer-generated drawingand communication Col laborative work wil l continue to bemore and more important in the practice of archi tecture Thisiswhere the power ofc inema to move people isthe u lt imate lessonfor the Cybernetic Ar'chitect making architecturaldrawings that move

T h e e s s e n c e of a t h in g n e v e r a p pe a rs a t t he outset b ut i n t he m id dl e i n t he c o ur se ofits d e v el o pm e n t w h e n i t s s t r e ng this a ssu red 4

.-: : : .: -.' -.. . . . ' ,' . i

: " ' : : : : i- , " : : ,\ - \ ' : j':1

: 1

> \1. - . . - : " . j

... l

. . i . ' . : : ' - ' : ' : ' j ' .i," .- !

. .. . i

I Wallace Stevens, 'Prologues toWhat IsPossible','The Rock',The Collected Poems of WallaceStevens, Alfred A Knopf (NewYork), 1977

2 GA Houses, 59, pp 105-63 GA Houses, 59, pp 105-64 Del euze , C inema I ,P 3


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. . .- : . : !: .:>..: '. :> .. . . . : . : . : . : - . -. j. . . . . . .: !

action image: see movement imageaffect image: see movement image

angle offraming: the geometr ic point o fv iew ofthe camera frame Inr-elat ionto the geometry ofthe set o f informany-instant-whatever:' cinema isthe system which reproduces movement asafunction of any-instant-whatevasafunction of equidistant instants, selected soasto create animpression of continuity' (Deleuze, Ci nema f, p 5 ) Finformation, see 'newness'

any-space-whatever': 'aperfectly singularspace which hasmerely lost itshomogeneity that IS,the principle of itrelat ions or the connection of i ts proper parts, sothat the l inkagescan bemade inan inf in ite number ofways It IS avirtual conjunction grasped aspure locusof the possible' (Deleuze, Ci nema I ,P 109 )

arrested image: the term Robin Evansusesfor perspective projection to distinguish itfrom the activeexperiencebya mobile viewer See immobile cut

aspect ratio: the proport iona l relat ionship between the wid th ofthe p icture and the height o fthe p ictureassemblage: 'More than style of cutting, montage expressesa logic of composition - aconcept or'a regulating Idethe philosophical sensethat informs the system of the fi lm global!y and ineachof itsparts Montage indicatesa paorganising principle or og encemen t of imagesin the form of Ideas' CDN Rodowick, Gil lesDeleuzes T i m e M a ch in e , p

attentive recognition; increasingly larger circuits of memory projected on anobject (Bogue D e fe u ze o n C in e m a,automatic reccgnltlcn: immediate perception-memory inseparablefrom the object itself (Bogue, D e le u ze o n C i111-17)

autopoiesis: ' l iterally means "auto (self)-creation" and expressesa fundamental complementarity between strucand function The term was originally introduced by Chilean biologists FranciscoVarelaand Humberto Maturana in( A u to p o ie s is a n d C o g n it i on t h e R e a li z at i on of t h e L i vi n g Robert SCohen and Marx W Warto fsky (Eds) Boston StudiePhilosophy of Science42 Dordrecht: D ReidelPublishingCo ' (Wikipedia)

blocks or'frames of space-time: see frame

centre of indeterminacy: aninterval or gapin the universal interaction of matter-flows, called also a living imageDeleu z e on Ci nema p35 ) See interval


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262 closedsystem/set: ' in c lu d es ev e ry th i ng wh i ch i s p re s ent i n t h e image - s e ts , c h a ra ct e rs , p rops' ( D e leu z e, Ci nema I, p 1 2) ;"immobile sections + ab s tr a c t t i me " re fe r s t o c l os ed s e tswhos e pa r ts a re i n f a c t i mmob il e s ec ti o ns , andwhos e s u c ces s iv es t at e s a re c a lc u la t edon an ab s tr a c t t i me ' ( D e leu z e, Ci nema I, p II )coordinates of Euclidean geometry: see Euclidean geometrycrystalline regirne: ' C r ys ta ll in e s ta te s r e ve a l d i ff er e nt w a ys i n w h ic h t he w h ol e o f t h a t g r e a t o c e a n o f t h e v ir tu a l p a stm a y b e r e la t ed t o t he o n go in g a c tu a li za ti on o f t i m e i n a p r es e nt m o vi ng t o wa r ds t he f ut u re . ' ( B og u e, D e /e u ze o n C in e ma , p126 )' eme rges ou t o f t h e s oc ia l h i st o ri c al , a nd c u lt u ral c on te x t o f pos twa r reconstruction' ( R odow i ck , p 1 3)

cybernetics: t h e s t u dy o f c ommun ic a ti o n i no rg an i sms , o rg ani c p ro ces s es , and mec hani ca l s y s t emsduration: ' [ B erg s on ' s] no t io n o f du ree as t h e t i me- s pac e f lu x o f a v i b rat io na l who le i n fo rms De leu z e 's en t ir e c oncep t io no f c i nema 'Duree i s ' t h e d y nam ic movement o f pas si n g y et c on ti n u in g t ime ' Duree i s ' t ime t h a t makes a d i ff e renc e , eac hmomen t b r in g i ng f o r th s ome th i ng qua li ta t iv e ly new ' ( B ogue , D e /e u ze o n C in e ma , pp 3, 1 2 , 1 4 )

Euclidean geometry: ' E u c li d eangeome t r y i s a ma t h ema t ic a l s y st em due t o t h e G reek ma t h ema t ic i an E u c li d o f A l e xand r iaE u c li d b e l i e ved t h a t h i s a x ioms we re s e lf - ev i den t s t at ement s abou t ph y si c al r e a l it y H owever , E i n st e in ' s t h eo ry o f g ene ra l

r e la t iv it y s h ow s t ha t t h e t ru e g e om e tr y o f s p ac e ti m e i s n o n - Eu c li de a n U n ti l t h e 2 0 t h c e nt u ry , t h e re w a s n o t ec h no lo g yc apabl e [ o f ] d e t ec t in g t h e dev ia t io n s f r om Euc li d eangeome t ry , b u t E i n st e in p red ic t ed t h a t s u c h dev ia t io n s wou ld ex is tThey were l a te r v e r i fi e d b y ob s e rv a ti o n s s u c has t h e ob s e rv a ti o n o f t h e s l ig h t b end i ng o f s t ar l ig h t b y as o l a re c l i ps e i n 1919 '(Wikipedia)

fabrkation/fabulation: ' Th e p ow e r o f t he f al se i s a g e n er at iv e f or ce s el f- in ve nt io n a nd t h e i nv en ti on o f [ a ] s to ry a reme t amorph ic p ro ces s es , b ec om i ng s t h a t p rodu c e a rea li t y r a th e r t h an rep re s en t i t' ( B ogue Ci nema I p 1 .5 4 )fir'stness: Cha r l es Sande r' SPei r cea rg ued t h a twhen we scrutinise qua li ti e s o f d i re c t appearances , s u c has c o lou r ; t e xt u re ,s m el l, w e a r e i n flrstness (Merre l l, 'Thought -s igns , s ign-events ' , p 3)frame: ' W e w il l c a l l t h e d et erm i na ti o n of a r e l at iv e l y c l o se d system wh i ch i n cl u d es e v e r yt h in g wh i ch is p re se nt i n t he i ma ge- s e ts c h ar a ct er s a n d p r o p s - framing. ' (Deleuze, Ci nema I , P 1 2 ) T h e f iv e a s pe c ts o f f ra m in g a r e d e r iv e d f rom D e le u ze ' sd i sc u s si ono f f r am i ng i n Ci nema I, p p 1 2 -1 8

icon: ' p o ss es ses th e c ha ra c te r t h a t r enders i t s i g n if ic an t e v en t h ough i ts ob j ec t h a s no ex is t enc e ' (Charles Sanders Pei rce)image: ' M at te r , i n o u r v ie w , I Sa n a g g r eg a te o f i m ag e s" A n d b y " i m a ge " w e m e a n a c e rt a in e x is te n ce w h ic h i s m o re t ha n t ha twh i ch t h e i d ea l is t c a l ls a representat ion bu t l e ss t h an t h a t wh i ch t h e rea li s t c a l ls a t hi ng - an ex i s tence placed hal fvvaybetweent h e " t hi ng " a n d t h e r e pr e se n ta ti on ' " ( B e r gs o n, M a tt er a n d M e m or y , p p 9 - 10 )

immobile cut or section: a c l o se d s ys tem /s e t S e e any-instant-whatever. (Deleuze Ci nema I p 8 )index: wo ul d l os e t h e c h ar a ct er w h ic h m a k es i t a s ig n i f i ts o b je c t w e re r emo v ed , b u t w o u l d n o t l os e t h at c h ar a ct er i f th e rew er e n o interpretant ' ( Cha r le s Sande rs Pe i rc e )

impulse image: see movement image

interval: i s t h e " c en t er o f I nd e te rmi na t io n " o f a l iv in g i m a ge a n Interval o r g ap i n t h e un i ve r s al i n te ra ct io n o f ma t t(Bogue, D el eu ze o n O ne m o p 3 5 )

know-how and know-about: Ame r ic an ph il o sophe r, p s y cho log i st , a nd edu c at io na l r e fo rme r J ohnDewey d is t inb e tween s k il ls , o r know-how, a n d c o nc e pt s o r w h a t w e a r e c a ll in g know-about , i n h is b o ok o n t h e r ol e o f h a b it in hbehaviour, H um an N at ur e a nd C on du ct ( 19 2 2) W e m ay b e s aid t o k n ow h ow b y m ea ns o f o u r h ab it s W e w alka lo u d w e g e t o f f a n d o n s tr e et c a rs , w e d r es s a n d u n dr e ss a n d d o a t h o us a nd u s ef u l a ct s w it ho u t t h in k in g o f t h ems om e th in g, n am e ly , h o w t o d o t h em [ If ] w e c ho os e t o c al l [t hi s] k n o wl ed ge t he n o th er t hi ng s a ls o c al le d k nok now ledge o f and abou t t h i n g s, k now ledge t h a t t h i n g s a re t h u s and s o , k now ledge t h a t i n vo l ved re fl e ct io n and c ona p pr e ci at io n r ema in s o f a d i f fe r en t s o rt A l so f o un d i n J oh n D ewe y s E x pe n en c e a n d N a tu r e. O p e n C o u rt P u bl is h( C h ic a go ) 1 9 2 5living image: see in terva lmatter-flux: see whole

mobile section: mo vem e nt i s am o b i le s e ct io n o f d u r a ti on , t ha t is o f t h e Wh o le ( D el eu z e, Ci nema I, P 8 )A c om pu t er -g e ne r at ed a n im a ti on t ha t d o es n o t t ak e o n t he r o le o f a v ir tu a l h um an e y e i n a s im u la te d a r ch it ec tu rb u t mob il is e s c onven t io na l a r c hi te c t ura l r ep re s en ta t io n s wh i ch c u t and s l ic e t h rough bu i ld i n gs s how ing i n te r io r , ememb rane c onst r uc t io n

movement image: a c co r di ng t o D e le u ze , H e nr i B e rg s on i n M a tt er a nd M e mo ry ( 1 8 96 ) d i a gnos ed ' a c r i si s i n psMo vem e nt a s p h y si ca l r e a li ty i n t h e e x te r na l w o rl d, a n d t h e i m ag e , a s p s y ch ic r e al it y i n c o n sc io u sn e ss , c o ul d n o lo p po s ed ' I n h i s G l o ss a ry , D e le u ze d e fi ne s m o vem e nt i m ag e a s ' th e a c en tr e d s e t o f v a r ia b le e lem e nt s w h ic h a c to n e a ch o th e r' ( D el eu z e, Ci nema I , p 2 1 7) T h er e a re s ix t yp es o f m o v em e nt im a ge s:

perception image: ' se t o f e l em e nt s w h ic h a ct o n a c e nt re , a nd w hi ch v ar y in r ela tio n t o i t' ( De le uz eCi nema I, p 2 1 7 ) A g a se o us , l i q ui d o r s o li d- o bj ec t s p ac e ' c u rv e s a r o u nd ' t he p e rc e pt io n i m ag eaffection image: ' th a t w h i ch o c cu p ie s t h e g a p b e t we e n a n a c t io n a n d a r e ac ti on , t ha t w h ic h a b so r bs a ne x te r na l a c ti on a n d r e ac ts o n t he i ns id e ' ( D el eu z e Cmemo I, p 217 ) An any -s pace -what e v er ' c u rv e s a rout h e a f fe c t io n imageaction image: ' re a ct io n o f t h e c en t re t o t h e s e t' ( D el eu z e, Ci nema I, p 217 ) A z i g- z ag s k e te l on s pace ' c ua r ou n d' t he s m al l f orm a c ti on i m ag e A r e sp ir a ti on s p ac e c u r ve s a r ou n d t h e l ar g e f o rm a c ti on i m ag eimpulse image: ' th e e n er g y w h i c h s e iz e s fr a gm e n ts i n t h e o r ig in a ry w o rl d' ( D el eu z e, Cinema Ip 1 24 )o r ig in a ry w o rl d s p ac e c u rv e s a r o u nd ' a n i m p u ls e i m ag ereflection image: deformat ions , t rans format ions or t ra ns mu ta ti on s w h ic h g o b ey on d t he q ue st ioo f t h e a ct io n- im a ge ' by r ef le ct in g o n it ( De le uz e, Ci nema I , p 1 7 8) A t ra n sf orm at io n s p ac e c u rv e s a r o ut h e re fl e ct io n imagerelation image: ' a n i m a gew h i c h t ak e s a s o b j ec ts o f t h o ug h t, o b je c ts w h ic h h a ve t h e ir o w n e x is te n ceo u ts id e t ho u gh t j us t a s t he o b je c ts o f p e rc e pt io n h a ve t he ir o w n e x is te n ce o u ts id e t ho u gh t I t i s a n i m ag et a kes as i t s ob je c t, r e la t io n s , s ymbo li c a c ts , i n te l le c tu a l f e e li n g s' ( D e leu z e , Ci nema I p 1 9 8) A s ym b ol s pa cc u rv e s a r o u nd ' a r e la ti on i m ag e

Mo vem e nt i m ag e s a r e e i th e r objective or subjective. Ob j e ct iv e pe rcep t io n i s p ro v is i ona ll y d e f in ed as a po in tf ro m o u ts id e t he f ram ed s e t, w h i le s u bj ec ti ve p e rc e pt io n i s d e fi ne d a s a p o in t o f v i e w f rom w i th in t he f ram e d s e tCi nema I , p p 7 1 -6 )


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264 newness: Deleuze notes that Bergson ' transformed phi losophy byposing the question ofthe "new" instead ofthat o feternity' (Deleuze, C i ne m a I , p.3) Newness asany-instant-whatever is' the production and confronta tion ofthe singu larpoints which are immanent to movement Now this production ofthe singu lari ties ( the quali ta tive leap) isach ieved bytheaccumulation of banalities (quantitative process), sothat the singular IS taken from the any-whatever, and isitself anany-whatever which issimply non-ordinary and non-regular' (Deleuze, Cinema f, p 6)

signaletic matter': away of looking at cinema or architecture asthe continual presentation of material signsto thand mobile observer.

servo-mechanism: from Marshall McLuhan Und e r st a n d in g M e d i a p 46: 'An Indian isthe servo-mechanism ofasthe cowboy of h is horse or the executive of h isc lock '

setof information: away of looking atan image, not asa p icture , but asaset o f e lements inre la tion to eachogiveyou al imited frame ofthe open whole

objective image: see movement image shot: ' intermediary between theframe andmontage, each shot framing alimited setof entities andat the sametimsuggestingthe relations beyond itselfthat mayguide itsassembly ina montage sequence' (Bogue, Deleuze o n C i n eOf particu lar interest to the fie ld ofarchi tecture isthe factthat the Frenchword for 'shot ' is p lan' (De leuze, Cinemopen whole: see whole

optical images: 'Opsigns mark the occurrence of "something intolerable, unbearable," something "too powerful'exceeds our sensori-motor capacities' (Bogue, D e le u ze o n C i ne m a , p 110) that symbol: i sasign, 'which would losethe character that renders i ta s ign i f there were no i n t e rpre t a r rt ' A symbol hmeaning and cannot Ind icateanypart icular thing; i tdenotes akindof thing Not only that but i t is i tsel fa k indandn

thing' (Charles Sanders Peirce)peaksor points ofthe present: The heightened experience ofthe present moment asthe continually passingof thepresent into analways unreachable future (Bogue, D e le u ze o n C i n em a , pp 136-40) tabula rasa: ' Inarchitecture signifiesthe utopian blankslateon which anew building isconceived, free of comprom

complication after the demolition of what previously stood on the site' The term originates with John Locke (Wikipperception image: see movement imagepdvileged instant/pose: a character or f igure ina unique moment (Deleuze, Cinema I, p 5)propriocepeion: ' ISthe senseof the relativeposition of neighbouring parts ofthe body Unlike the sixexteroceptionhuman senses(sight, taste, smell, touch, hearing, and balance), bywhich we perceive the outside wor-ld, proprioceptionisan interoception sensethat provides feedback solely on the statusof the body internally It isthe sensethat indicateswhether your' body ismoving with requi red effor t, aswel l aswhere the var ious parts ofthe body are located inre la tionto eachother ' (Wikipedia) Brian Massumi notes in P a ra b le s f o r t h e V i rt u al M o v em e n t, A f fe ct a n d S e ns a ti o n that theproprioceptive sense registers stimuli before they are perceived cognitively Deleuze isperhaps describing this sensewhenhe writes: '[The cinema] g ives an in termedia te image, to which movement isnot appended or added: the movement onthe contrary belongs to the intermediate image asImmediate g iven It might besa id thatthe posit ion of natural perceptionisthe same But there [ in natural perception] the i llus ion [of movement] iscorrected above" perception bythe condi tionswhich make perception possible inthe subject' (Deleuze, Cinema I p 2)

SUbjectiveimage: see movement imagethirdness: according to Charles Sander'sPeirce, when we scrutinise patterns and context, observing the whole, ltheories, we arein thirdness (Merrell, 'Thought-Signs, sign-events', p 3)

time crystals:' refracting, fi ltering and reflecting surfaces inwhich virtual and actualare made visible andrendeindiscernible asthey passinto eachother' incircuits of exchange' (Bogue, D e fe u ze o n C i ne m a , p 6)time image: 'adirect manifestation oftime' (Bogue, De/euze on Cinemo , p 107)

reflection image: see movement imagetopology/topological invariants:Topology A branch of mathematics that dealswith those properties of figures and surfaceswhich areindependentshape andare unchanged byany deformation that iscontinuous, and with those of abstract spacesthat are invarianhomeomorphic transformationsInvariant A function ofthe coefficients inan expression such that, ifthat expression islinearly transformed, thesamofthe new coefficients isequalto the first functi

cinemetrics ch5

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