| Title |
A Study on the Architectural Affection with G. Deleuze's Sensory-Motor Schema in Cinema |
| DOI |
http://dx.doi.org/10.5659/JAIK_PD.2015.31.1.133 |
| Keywords |
Gilles Deleuze ; Sensory-Motor Schema ; Affect ; Affection ; Movement-image ; Time-Image |
| Abstract |
In the 'Cinema 1: The Movement-Image' and the 'Cinema 2: The Time-Image', Gilles Deleuze maintains special affections occur with the extreme Close-up and disconnected Any-Space-Whatever, which breaks the usual Sensory-Motor Schema/Links of a film. According to Deleuze, the transformation from classic to modern cinema is the transition from closed to open structure due to the breakage of the Sensory-Motor links, which is very similar to new architectural trend after the Modernism. As the classic cinematic world, governed by the Sensory-Motor Schema(SMS), is based upon the linear temporality and causal relationship of the deterministic world, the Modern Architecture obsessed with the conceptual transparency has the architectural SMS of hierarchial organization and perspectival spatiality. Like the cinematic breakage of SMS excited special sensation and affection, the dismantling of perspectival space allows to appreciate 1) the sensuous haptic space, the distructure of conceptually transparent space gives birth to 2) the poetic opaque space of embodied affection, and as pure power and quality 3) the space without function makes oneself feel the ultimate affection of sense of oneself. |