“Direct images of matter exist. The sight names them, but the hand knows them. A dynamic happiness handles them, kneads them, lightens them […] that imagination generally tends to work towards happiness –or at least one happiness- in the sense of the forms and the colors, in the sense of the varieties and the metamorphosis, in the sense of a perspective of the surface”

Water and Dreams, Gaston Bachelard



“From comedians smirking to the camera, to the constant bowing and gesturing of the conjuror in magic films, this is a cinema that displays visibility, willing to rupture a self-enclosed fictional world for a chance to solicit the attention of the spectator… freedom from the creation of a diegesis, accents on direct simulation”

The Cinema of Attractions, Tom Gunning





“When he ran from a cop his transitions from accelerating walk to easy jogtrot to brisk canter to headlong gallop to flogged-piston sprint –always floating, above this frenzy, the untroubled, untouchable face- were as distinct and as soberly in order as an automatic gearshift”

Comedy’s Greatest Era, James Agee





“Shigeru Miyamoto designs his games around verbs, that is, around the actions which the game enables players to perform. He wants each game to introduce a new kind of mission, making it possible for the consumer to do something that no other game has allowed before”

Games – The New Lively Art, Henry Jenkins





“Much of the pleasure of Keaton’s comedy arises from its capacity to reveal the world as not merely a social milieu or situational code, but as a physical arena, wherein the body’s immediate relation to surrounding topographical features constitutes the primary relation between self and world. It allow us to revisit the fun of certain childhood games based around hiding and dodging and running away in which a range of spatial and athletic possibilities of the body –size and shape, dexterity and litheness- are inventively played out in relation to features of the surrounding environment”

The Body in Hollywood Slapstick, Alex Clayton





“One is a crankshaft’s handle that can be gradually and continuously regulated (controlling a valve’s aperture); another is a switchboard’s crank with only two effective positions, it’s opened or closed; the third is the handle of a braking crowbar, the more you pull the stronger it brakes; the fourth is a pump’s crank that only operates moving it from side to side”

Philosophical Investigations, Ludwig Wittgenstein


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