The Multiplanar Image
The Multiplanar Image
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多平面图像
DOI：
10.1353/mec.0.0067
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发表时间：
2010
期刊：
影响因子：
--
通讯作者：
T. Lamarre
中科院分区：
文献类型：
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作者：
T. Lamarre
窗户。我不禁想起保罗·维利里奥（Paul Virilio）说过的话，从火车窗外看到的风景是艺术，就像巴勃罗·毕加索（Pablo Picasso）或保罗·克利（Paul Klee）的作品一样。维利里奥将速度对景观的影响称为“引擎的艺术”。1他将其与电影联系在一起。他写道：“火车车窗、汽车挡风玻璃、电视屏幕上发生的事情都是同一种电影主义。”2 对于维利里奥来说，这种发动机的艺术，这些速度的影响，尽管它们很美丽，但却是致命的。电影主义需要一种光学逻辑，最终让我们为炸弹的视角做好准备，让我们生活在一把枪、导弹或其他弹道系统的一端或另一端。也许只有我这么认为，但当我从子弹头列车上看风景时，我看到乡村似乎如何分成不同的运动层，以及结构如何转变为剪影。这些效应让我想知道是否也存在通过速度效应产生的“万物有灵”。这种动漫主义不会将目光从窗户上移开，以便将它们与超速行驶的机车、子弹或机器人对齐。它仍然专注于横向、侧向或交叉速度的影响。因此，动漫主义强调速度如何将景观划分为不同的平面或多平面图像
the windows. I can’t help but recall Paul Virilio’s remark, that the landscape seen from the train window is art, just as much as the works of Pablo Picasso or Paul Klee. Virilio calls the eff ect of speed on the landscape an “art of the engine.”1 And he associates it with cinema. “What happens in the train window, in the car windshield, in the television screen, is the same kind of cinematism,” he writes.2 For Virilio, this art of the engine, these eff ects of speed, for all their beauty, are deadly. Cinematism entails an optical logistics that ultimately prepares us for the bomb’s-eye view, consigning us to a life at one end or the other of a gun, or missile, or some other ballistic system. Maybe it’s just me, but as I look at the landscape from the bullet train, I watch how the countryside seems to separate into the diff erent layers of motion, and how structures transform into silhouettes. Th ese eff ects make me wonder if there is not also an “animetism” generated through the eff ects of speed. Th is animetism does not turn its eyes from the window in order to align them with the speeding locomotive or bullet or robot. It remains intent on looking at the eff ects of speed laterally, sideways, or crossways. Consequently, animetism emphasizes how speed divides the landscape into diff erent planes or The Multiplanar Image