c i n e s e n s o r y

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  Haptic Cinema <- click to lunch the film      
Amodal in film works as sensor and/or sensed material in mind. This is not only in terms of narrative structure or production techniques rather moving image as active tool to engage in the materiality and dynamics of space (like Vertov's motives considering the context of 1920's). An emotive cinematic space adds amodal dimensions to the traditional Euclidian geometries. It's a hyper trans-portal space that converts digital information to soft architecture. Bodies become forms of temporal, sensory, memory, and spatial data, New digital tools blurring the area of soft design.

Amodal mapping

Many hidden dimensions of architecture are perceived by mind but usually ignored during the design process; designers not often consider for instance, sensory and cognitive modalities as resourceful possibilities and solutions to creativity. How can we tap into the potentials of the many hidden dimensions of architecture and the city through various mapping of the senses? One approach is by utilising film as pure memory material in architecture which can yield multidimensional perceptions between film and architecture. Virilio suggests that this means filmic techniques becomes an "open system" where anything is possible and it is no longer a matter of "depth of field or perspective" rather, that it is field of limitless perceptions and structures. Film reveals the materiality of architecture in a dynamic or as Benjamin noted "explosive" rendition, hence film can be a medium for writing and translation of architecture’s concealed dynamics and understanding its sensations, myths, physicality and actions. (Virilio 1991) An amodal mapping proposes mapping ‘degree zero’ architectural affects through moving image methodologies. This new perception requires understanding of the organisation of different spatial parameters as being sensed and perceived.

Amodal Perception and Completion is the spatial organisation of objects in mind when partially seen or hidden by obstacles; thus, amodality can be a semantic perception of architectural experience, as in representation of architectural regions as filmic plane surfaces, mapping between surface form and its meaning; as Massumi suggests amodal above all is a matter of philosophy which also lies between fusions with psychology of perception, sensory, and thoughts. In mainstream films the narrative is the most powerful mode of sensory control—if sound is stopped and viewed without audio the usual modal senses create interesting amodal perceptions i.e. the off-the-frame actions and mise en scene become more pronounced. “What lies transitionally between modes is amodal,” a symbolic representation of sensory fusions. (Massumi 2003)

Cinescapes <- Amodal Mapping <-













Travelspace is a cinematic experience because it is dealing with a time space delay that is temporal sequence with memory images and sensory engagement. Film can makes this travel space more tangible. Travel space is sequential event revealing itself in time to see the effect of the image of the city, we can to use the time-space of film.










Sensoray is an OEM of frame grabbers, data acquisition and machine communication and vision company. Sensoray 2255S is a 4 channel video capture device used in some of our projects.















Travel Space

I'd like to connect the notion of haptic through motion with Vertov's experimenting through montage to convey a camera as an active sensor of environment and montage as a spatial stacking, layering, multiplier of time; thus, travel space can be unraveled spatially. Situationist International's psychogeography can help in understanding the city's hidden sights as a street action research while moving through it. Kevin Lynch's travel space research during 1980s, has mentioned sequential stop motion photography as a data collection method. In Vertov it was through the active camera role that the sequentially of city is revealed and is like a tool hidden images of sensing pain and pleasure through city's time-space and duration.

Laura Marks in her book The Skin of the Film (2000) gives other subjective descriptions of filmic sensory experiences for viewers "caught between." Marks points out that specific intercultural films take advantage of the haptic images and qualities which refuse "visual plenitude" (Marks 2000: 177). These haptic qualities according to her prevent viewer’s easy connection with the narrative, hence détourned them to engage through their memory. She explains that ethnographic films have been using haptic images as counter-expectation methods for the viewer’s typical anticipation for "informative and exotic visual spectacle." According to her this is a protection technique towards the original images; therefore the intentions are to engage the sensory, then memory prior to typical visual focus. One of Marks important comments is the discovery of haptic and optic ways of seeing in film; changes in focal and distance of objects are optical effects, cinesensory is concern with the shift between these optic and haptic visuals, which can shape creative geography as a filmic psychogeography: a critical exploration of heterotopic lived spaces. In montage what is new is what has been obscured before and is revealed through structural juxtaposition of its spatial and temporal themes and continuity.

Cinesensory deals with a new applied semantic for architectural symbolism through multi-sensory realm of film; it proposes a non-permanent dimension of dynamic time to be added to the materiality of space of built form. It is a lost dimension in design, Paul Virilio suggests as a sort of degree zero of architectural, performative forms where actions and architectural events find meanings in moving image.



The cinesensory is a research inspired by theories as in the architecture of disjunction based on Tschumi's writings which is concerned with spaces of events, movements and their fragments of action situations, user experiences, creative mind and conceptual mental constructions. It is an architecture of uselessness opposing the capitalist model of 'form follow function,' here form is following motion and other disjunction temporal events offering new information about architecture. Both montage and collage give the possibility of representing a scene with new information that were left out as an improvisational space for overlapping, superimposing, and blending creating a gestalt experience.

Cinesensory is collaboration between montage and collage. It is a montage of separate time space gaps, it is a collage of motion synthesis of culturally sampled form, each may be embedded within a mythic semantic that is shifting its dynamics, and atmospherics. What is different between montage and collage is multidimensionality which is from episodic nature of its meaning. "Montage is a collection of episode with each one maintaining its individual identity" as in collage that is separate pieces of information put together to form a synthesis (Coleman 2005). in a montage the allegorical and mythical results of montage creates a degree zero of architecture an apolitical and historical form of interpretation of it. It's spatialising the architectural visualization myths and symbolism perhaps a degree zero writing of the space with little boundaries.

Cinesensory is a combination of cinematic interpretation of sensory, it is our cinematic motor schema where we sequential design our actions therefore it is sensory perception that is cinematically interpreted and addressed. It is inspired by the time space of movement and multi-sensory affects of sound and image. It is the rhythm of repetition that reveals its pattern of its form.

In cinesensory we create architecture anew each time and it is less permanent and more flexible; it is a free schematic, as Rajchman suggest "what if the Kantian 'schematism' were only a temporary construction always to be reinvented through a free artifice no longer based in the rules of a 'productive' any more than a 'reproductive' imagination?" (Rajchman 1988). A series of overlapping architectural explorations, philosophical and conceptual ways of transgressing from the normal architectural design.

Cinesensory thus is a relational or as Tschumi says a "transformational sequence" procedure, and it is not so much concerned with synesthetic rather kinaesthetic modalities or the haptic sense of traversing through space.
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by Amir Soltani at metrowave.co.uk