_antichthon : The backdrop transition from city to room behind the mannequin insinuates a glance of hers to the same effect, the model’s line of thought&action. The kino-eye [camera-eye, the camera’s view] is, however, subordinate, in that it remains at all times the antithesis of her glance. When she appears to be looking into the room the scenery beyond is of the city, and when she appears to have moved her gaze outwards we see the interior of the room beyond it. In this way, the moment of thought&action is effectively stretched over time such that the camera can capture it.
_transition : a change or passage from one condition, state, subject, place, etc to another; music a change from one key to another; a brief modulation; archit the gradual change from one style to another, especially from Norman to Early English; physics a change of an atomic nucleus or orbital electron from one quantum state to another where the emission or absorption of radiation is involved. transitional or transitionary adj. transitionally adverb.
ETYMOLOGY: 16c: from Latin transitio a going across.
ETYMOLOGY: 16c: from Latin transitio a going across.
_line of thought&action : a sequence of mutually dependent procedures manifest simultaneously in somatic and cognitive space. the line is described as a narrative plotted along a series of ‘markers’. a marker is established by a physical appearance or gesture signifying a progression or transition, which thus adds momentum to, and dictates the course of the line.
_somintrospicere
_operative time drawing charting a line of thought&action from ‘inland empire’ [david lynch, 2006].
the impulse physical linguistics of the character nikki/sue plot points chronologically which define this line spatially as a sequence between extraversion – that is, influence from extraneous sources – and introversion, its antonym.
the [extended] moment of transition [01:08:25 – 01:08:30] is expressed somatically by the sequence: stare – close eyes – turn away – cover eyes, distilling the narrative of the extended scene to simple impulse gestures at once generic and laden.
auxiliary auditory passages are noted by way of two methods :
i : the waveform of all combined audio in the sequence provides a visual snapshot of the soundscape by way of a numeric frame of reference throughout the graphic.
ii : dialogue, lyrics, and percussion are noted and positioned within the graphic relative to the corresponding physical reactions of the characters such that relationships between sound and somatics become evident.
