© 2015 EQUINOX PUBLISHING LTD 58 ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal phantom ridesandexhibitions suchasHale’s tours(Gunning1986).InhisWalter early incinemaaspartof“the cinemaofattractions”intheformnon-narrative in which the development of moving image media are seen in a larger cultural context. here isthus intended as acontribution to an existing media-archaeological discourse century philosophical toys to the cinema to video and digital media). My short comment image”, understood as an expanding arsenal of technological devices (from nineteenth- revolving panoramic view and what Tom Gunning (2012) has called “the technological (Elsaesser 2004). Bull.Miletic examine the disparate and far-flung links between the experience isfirmlysituatedwithinNewFilmHistory’s media-archeological context architecture, and the development of the railway and tourism, the revolving restaurant with urbanization, panoramaferro-vitreous and diorama, and the coming of modernism vision machine through the development of immersive imaging practices such as the and the picturesque gardens of the early eighteenth century. By tracing the origins of this restaurant view as apanoramic desire starting from the Italian veduta, the Claude glass, sites or places outside the traditional cinematic apparatus. to what I call cinéma trouvé—a cinematic experience ofa view inhabits, I have turned evoke acinematic experience. In order to describe the relationship to cinema that such optical device, where the attributes of elevated view combined with mechanical motion contemporary media culture. In this text I will be treating the revolving restaurant as an innovation of these structures relate tothe new imaging technologies that shape our archeological project, ofwhichthistextisapart,Iexplore howtheexperienceandcurrent their urban tissue, serving as an influential visual medium for the masses. In my media- cities have continued to incorporate various types of kinetic observation structures into Ever since the erection of the Eiffel Tower in 1889 and its overwhelming public success, correspondence: 88Trallwm Road,Llwynhendy, LlanelliSA149ES,UK.Email:[email protected] Paul Graves-Brown is an Honorary Research Associate at the Institute of Archaeology, UCL. Address for ____. 2007b. (director) Chaos! Ex-Pistols’ Secret The specificexperienceenabled bykineticarchitecture andmechanicalrides appears The artist duo Bull.Miletic (2011) have written about the genealogy of the revolving Universal. (DVD). London: The Dave Goodman Story History: n

[email protected] University ofOslo, Norway Revolving Restaurant View Towards a Media Archaeology of the Kinetic Synne Tollerud Bull Architecture and Aerial Rides:

Forum The Times . 2011. “Anarchy in the DIY: Would it be leaders/article3233868.ece online: ten’s Wall of Graffiti?” 22November. Available in the True Spirit of Punk to Preserve Johnny Rot- http://www.thetimes.co.uk/tto/opinion/ DOI :10.1558/jca.v2i1.27134 2.1 (2015)1–147 future civilizations. As Morshed remarks: and the idea of traversing aerial space had a significant impact on the imagination of 1. Great Depression and longing for prosperity and progress (Morshed 2004, 74). Bel Geddes’s “number one hit show” (Figure 2) enchanted a nation struggling after the Motor’s Based on119aerialphotographs,andpresented aspartoftheautomobile giantGeneral vertical abstractiondoesawaywithhistoryandcompresses spaceintodefinedterritory. the hand of the architect as agod-like liberator of urban space. At the same time, the sublimation” (Dorrian 2007, 6). In the model of Le Corbusier’s La ville radieuse, we see ning’s most potent tool of public persuasion endures through precisely such powers of works on the same principle. As Mark Dorrian has noted, its “usefulness as urban plan consumption had an ideologically recuperative effect, and how the miniature ormodel Fair demonstratedhowthetransformationofcityintoadistantobjectvisual Geddes’s reinstated inGeddes’s Futuramaafewyearslater, drawing onthesamebasicprinciples. to structural and economic problems, but the mobile aerialized spectator was finally What was supposed to be the world’s first revolving restaurant was never realized due Century ofProgress Exposition,alsoknownastheChicagoWorld’s Fair(Figure 1). that was to make one full revolution every thirty minutes, was designed for the 1933 Norman Bel Geddes’s model for the Bel Geddes’s AerialDesigns age and leading up toCold War heterotopias. would call the cine-dream of kinetic architecture found in the wake of aviation’s golden to include what I, after the film scholar and media archeologist Pavle Levi (2012, 77), mediated and physical experience. Below, Iwill jump-cut further along the aerial view unconventional ways of thinking through issues of embodiment and materiality across cinéma trouvé physical space and his or her own memory of conventional cinema. The concept of duced byanobservationmachineinwhichthespectatorsimultaneouslytravelsthrough to my concept of “readymade cinema” or cinéma trouvé, acinematic experience pro “the virtual window” (Friedberg 1993, 2006), among others, this line of thought leads site of spatio-sensory perception” (in Bruno 2002), “the mobilized and virtual gaze”, and accounts such as “cinema by other means” (discussed in Levi 2012), “the body as a through theworld”(Schivelbush1986,64,emphasisinoriginal).Relyingonrelated the traveler saw the objects, landscapes, etc. through the apparatus which moved him traditional perception, no longer belonged to the same space as the perceived objects: railway, Wolfgang Schivelbush (1986) claims that “panoramic perception, in contrast to Benjamin-influenced account of the changes brought to society by the invention of the ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal

For Bel Geddes and his contemporaries, new breakthroughs in aviation technology (1994). For a general discussion onthe Futurama, see Bush (1979), Marchand (1992), and Hauss-Fitton Highways andHorizonsexhibitinthetremendously popularTransportation Zone, Futurama is a useful media archeological heuristic device, as it generates new and model of the “world of tomorrow” at the 1939 New York’s World’s Media Archaeologies

Aërial Restaurant, a three-floor circular construction DOI :10.1558/jca.v2i1.27134 2.1 (2015)1–147 1 - - 59

© 2015 EQUINOX PUBLISHING LTD © 2015 EQUINOX PUBLISHING LTD 60 Center, The University of Texas at Austin). event of Lindbergh’s flight over the Atlantic in 1927, Bel Geddes had conceived of an acouple of years after the historic with aerial ascension and mechanical motion. Within ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal the grounded identity of objects and subjects. As James Gibson has noted: mechanical thrustthrough previously unimagined perspectivesofspace-time,dissolving out of its age-old gravitational axis. Similarly to the train ride, the airplane flight offered Viriliosignificant (1997) has pointedshift, asout, Paul tilting the concept of architecture sleeping accommodations for 606 persons” (Morshed 2004, 85). This design marked a aerialized architecture, “aV-winged leviathanaerial vesselwithawingspanof528feetand F igure Prior to the the arts during aviation’s golden age. (Morshed 2004, 79) new models ofaesthetic experimentation in literature, science fiction, and excellence representing aprivileged view of the earth and was acatalyst for tropeSolitary in his monoplane, the aviator was the modernist par 1. 1. Norman Bel Geddes, Model of Aërial Restaurant Futurama , a number of Bel Geddes’s designs engendered his fascination

Forum , 1929 (courtesy of Harry Ransom DOI :10.1558/jca.v2i1.27134 2.1 (2015)1–147 Ransom Center, The University of Texas at Austin). Walter Ruttman’s Berlin: Symphony of a Great City (1927), the viewerintoan‘other’order, atime ofaestheticplay, cinematictime— playtime” In his acclaimed film Playtime Tati’s view: “An exclusive realm detached from earthbound mortals” (Morshed 2004, 94). an altogether different perspective from that of the human eye is in itself a kind of aerial aerial, transcendent” (Gunning 2011, 70). The film camera’s ability to see the world with cuts that move without friction, even with collisions. The camera remains disembodied, remains anessentialimage[…],butthefilmmakerrisesaboveitsone-waylogic,employing F ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal film, according to Ockman, is “set outside normal space-time relations […]. It initiates of the multiple glass surfaces in the unidentifiable airport terminal. The location of the 4 crash-landed at Orly, the traveler’s now depends onthe artificiality continued journey is left of the aerial promise (Ockman 2000, 178). As if Bel Geddes’s Aerial Liner Number rather than an aerial overview; “a glistening antiseptic environment” has become what igure The all-seeing God-like view is also the cinematic view. Of “city symphonies” such as (Gibson 1979, 197) To be everywhere at once with nothing hidden is to be all-seeing, like God. world at all points of observation, as if one could be everywhere at once. time for asufficiently extended set of paths, begins to be perceiving the Seeing the world at a traveling point of observation, over a long enough 2. 2. Playtime Norman Bel Geddes, Futurama, New York World’s Fair, 1939 (courtesy of Harry (1967), Jacques Tati’s camera offers adystopic no-place, Media Archaeologies

Gunning remarks: “The street DOI :10.1558/jca.v2i1.27134 2.1 (2015)1–147

61

© 2015 EQUINOX PUBLISHING LTD © 2015 EQUINOX PUBLISHING LTD 62 ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal 2. public imagination with the launching of Sputnik in 1957” (Colomina 2008, 81). was the product of esoteric scientific-military research but that had entered the everyday Domestic life became “suspended within an entirely new spatial system—a system that domestic andpersonal“goodlife”incombinationwithaerialviews andouterspacevoyage. life. AsBeatrizColomina(2008)hasnoted,theGlimpses installationemphasizedthe eventually the intimate private sphere of the family breakfast and the startup of everyday cities and landscape before closing in on details such as milk bottles, newspapers, and star constellations and planets. Spread across the seven screens followed aerial shots of repeated. The flying all-seeing camera, now from as high as outer space, starts up with ence hitherto constructed. Here, the aerial shots we know from the city symphonies are 250-ft diameter dome, the visual effect overpowered any previous multi-screen experi- gigantic 20-×-30-ft screens. Suspended from the roof of Buckminster Fuller’s massive Glimpses of the USA provided over 2200 still and moving images separated onto seven significant attention to the backdrop of Cold War strategies. Their multi-screen installation spaces of heterotopias onaglobal scale. politics of visual media and information strategies in post-World War Two USA created and attitude towards architecture and spaces of information serve toillustrate how the architectural practice ofthe Space Age architects Charles and Ray Eames. Their works The continuationonthismediaarcheologicaltakesmetothemulti-media journey Cold War Heterotopias and, most importantly, relentlessly more ideal. the dissolving-of-reality effect, scenery less real, making the external more cinematic, and virtualization” (Ockman 2000, 93). The motion of the revolving restaurant adds to the relation between physical experience and the advancing forces of dematerialization 2007, 6). As Ockman concludes, the relation of film and architecture “is a paradigm of “would be sublimated into the quasi-pastoral spectacle of the ‘urban landscape’” (Dorrian revolving restaurants. “The violence of the urbanism ‘on the ground’”, as Dorrian states, be its only remedy, commoditized through Ferris wheels, outlook towers, and eventually, character of the great city” (Benjamin 1997 [1935], 174). And equally, an aerial view will Haussmannization of Paris, the citizens “began to become conscious of the inhuman views inperspectivedownlongstreet-vistas” (Benjamin1997 [1935],173),andwiththe an aerial view; as Walter Benjamin reflects: “Haussmann’s urbanistic ideal was one of mann about a hundred years earlier, this violence of urban space’s creation begins with to demolition and redevelopment” (Ockman 2000, 83). Aprocess started with Hauss- “Between 1954 and 1974, 24percent of the buildable surface of the city was subject (Ockman 2000, 178). The background for Tati’s vision is clear, Ockman reminds us:

The Eameses’contributiontothe1959AmericanNationalExhibitioninMoscowbrought about, Ishall call them, byway of contrast to utopias, heterotopias” (Foucault 1986, 24). in reality. Because these places are absolutely different from all the sites that they reflect and speak “Places of this kind are outside ofall places, even though it may be possible to indicate their location approval), heterotopia describes places and spaces that function innon-hegemonic conditions: geography. According toFoucault (in a 1967 text for alecture that was published later without his I retain here the concept of heterotopia elaborated by Michel Foucault, as a concept of human

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history, tothemultiplicityofearlyattractions andthehistoricalquestfortotalimmersion.At cinematic elsewhere. An archaeology of the revolving restaurant sends us further back in ing architecture apart from normative architectural experience and transgressed into a I have argued that the elevation in combination with mechanical motion set the revolv Concluding Thoughts different dimensions of time. perceptual modes,placingthesubjectoutofjointbetweenimmersion,abstraction,and 91). These spaces can be classified as heterotopias in the way they operate through information, “a space we now occupy continuously without thinking” (Colomina 2008, The status ofarchitecture, Colomina concludes, is transformed into an enclosure of architectural designintomicrobecame partofeveryaspectlife,turning temporalities. the Space Needle ture of the clarity of overview and a sensory overload. As one commentator observes, (and the painted and moving panoramas before that), the concept was a complex mix- reassured the audiences of their mediated existence. As with the 360-degree-cinemas War mentality, the very beginning ofthe information age, the gently rotating overview experience, more evidentthanintherevolving restaurant. Growing outofthesameCold in 1962 as the Space Cage (Figure 3)—the initial name ofthe Space Needle. regime, BelGeddes’s revolutionary restaurant atSeattle’s designwasre-born World Fair Eamseses is organization in time” (Colomina 2008, 89). Propelled by the same spatial with “space” but rather with “structure” or, more precisely, with time. “Structure, for the “architecture isallaboutthespaceofinformation”.Weourselves nolongerneed concern of viewing goes beyond the old fantasy of the eye inthe sky” exhibition was trying to downplay.” As such, Colomina continues, “this extreme mode hyper-viewing mechanism, which is hard to imagine outside the very space program the seven-screen installation was “that of an extraordinarily powerful viewing technology, a in kitchen appliances. However, asColomina notes, the final outcome of the gigantic and tame the space race of the Cold War into a dialog of domestic life and a competition ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal cal space” (Colomina 2008, 85). As Colomina insightfully observes, for the Eameses The space of the multi-screen film, like the space of the computer, compresses physi of information transmission […] where the central principle is that of compression. […] with the organization ofinformation, and Glimpses the world, may have inspired the multi-screen design. The Eameses were preoccupied the White House, where multiple screens are set up to bring in information from all over poverty, domestic violence or depression” (Colomina 2008, 84). The Situation Room in Glimpses The movingimageabsorbedandprojected and backtheexistenceofmodernity Nowhere isthearchitecture asinformation,structure intime,andassuchacinematic On the agenda for the exhibition in Moscow was an attempt to soften the arms race anxiety over nuclear annihilation. (Egan 2012) Fair. It fit the fair’s theme of a cheery Space Age tomorrow, defying cold war became aflying saucer, or halo inthe sky, the symbol of the 1962 World’s installation showed the good life of domestic America, but “without ghettos, Media Archaeologies

was “organized around a strict logic

(Colomina 2008, 81). The DOI :10.1558/jca.v2i1.27134 2.1 (2015)1–147 - - 63

© 2015 EQUINOX PUBLISHING LTD © 2015 EQUINOX PUBLISHING LTD 64 UW18955z). 68 × 64 cm (courtesy of University of Washington Libraries. Special Collections Division. section of restaurant. Architectural drawing by Seymour, acrylic or gouache on board, 1962, ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal 3. new aerial-imagingtechnologies haveprompted scholarlydiscussionsonwhat has perspective-shift thatcomesfrom seeingourplanetsuspendedinspace”(World n.d). View ing promise to offer its passengers “the unexpected emotional reaction and unparalleled addition, the emerging technologies of commercial space rides and high-altitude balloon Peak (2012), a free-standing glass “elevator to nowhere”, also contribute to this trend. In (2012), acable-car crossing the Thames by the Millennium Dome, and Oslo’s own Sneak development, other types of aerial rides such as the recently-installed Emirates Air Line by anunprecedented boostinurbanwheelsglobally. Eye (re)launched the interest in urban observation wheels in 2000 and was soon followed about our relationship to moving images historically and today. The 135-m-high London control and confusion, these elevated perpetual motion machines can tell us something the sametimeasarousing complexfeelings ofoverviewandvertigo,powerdizziness, F igure

Alongside the apparent boom in aerial rides in the physical world, digital-cinema and 210 m); and Moscow View (planned,210 220m). m); and Moscow View construction, 192 m); the Beijing (planned, 208 m); the Dubai Eye (under construction, (2008, 165m); the High Roller, Las Vegas (2014, 168 m); the (under A short list would include, but not be limited to: the , (2006, 160 m); the 3. 3. Century 21 Exposition (Seattle, Washington), design for the Space Needle, cross-

Forum 3 Inparalleltothiscircle-centric DOI :10.1558/jca.v2i1.27134 2.1 (2015)1–147 - cinema, the observation rides of the physical world correspondingly receive a boost of movement and aerial views emerge from older forms of cinema back into focus in digital for cultural innovations and reorientations” (Huhtamo and Parikka 2011, 25). As camera up’ in formulas that may be hundreds of years old, while the old may provide ‘molds’ ____. and F. Pousin, eds. 2013. Seeing from Above: Dorrian, Notes M. 2007.for a “The Aerial View: Colomina, B. 2008. “Enclosed by Images: The Bush, D.J.1979 “Futurama: World’s Fair as Utopia.” Bull.Miletic. 2011. “Heaven Can Wait: The Revolving Benjamin, W. 1997 [1935]. “Paris –Capital of the Bruno, G. 2002. Atlas of Emotion: Journeys inArt, Brown, W. 2013. Super Cinema: Film-Philosophy for Bibliography a revolving restaurant can offer a nuanced media-archeological alteration of thought. this preliminary presentation2010); With I also hope to have shown how the view from and thewayweare severely conditionedbyournon-humanmachines(Kittler1999;Ernst view in motion. The revolving restaurant does not only show us ahistory of mass media with and that I amexploring in my media archeologicalconcerned project ofthe aerial technological innovation.Itistheresonance ofthesetwospatialconfigurationsthatIam tematic study ofcamera movement impelledbythespatial configuration in digitalcinema. Others (Brown 2013; Morgan 2015; Gunning forthcoming) have called for a more sys tracking, and targeting such as Google Maps, drones (Weizman 2015) and satellites. increasing importance of aerial views prompted by new technologies of surveillance, Elseasser (2013), and Dorrian and Pousin (2013), to name afew, have pointed to the emerged as a new visual paradigm. Scholars such as Farocki (2012), Steyerl (2012), ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal Elsaesser, T. 2004. “The New Film History as Media Egan, T. 2012. “Miracles in the Clouds.” New York According toErkki Huhtamo, media archaeology shows us how “the new is ‘dressed The Aerial View in Visual Culture http://strates.revues.org/5573. Cultural History.” Strates 13(22). Available online: Leighton, 75–91. London: Tate Publishing. the Moving Image: A Critical Reader, edited by Eameses’ Multimedia Architecture.” In Art and Alternative Futures 2(4): 3–20. berg Press. S. Bull and M. Paasche, 146–163. Berlin: Stern Unruly Desires inFilm and Architecture, edited by Restaurant as Hyper Cinema.” In Urban mages: Verso. and translated byH. Zohn, 155–176. London: Poet in the Era ofHigh Capitalism, by W. Benjamin Nineteenth Century.” In Charles Baudelaire: ALyric Architecture and Film . London: Verso. the Digital Age. New York: Berghahn Books. Archaeology.” clouds/ blogs.nytimes.com/2012/06/07/miracles-in-the- Times, 7June. Available online: http://opinionator. Taurus. CINéMAS 14(2–3) 71–117. . London: I.B. Media Archaeologies

T. T. - ____. 2012. “Hand and Eye: Excavating a New ____. 2011. “One-Way Street: Urban Chronotopes in Gunning, T. 1986. “The Cinema of Attractions: Early Gibson, J. 1979. The Ecological Approach to Visual The Virtual Window: From Alberti to____. 2006. The Virtual Window: Shopping: Cinema andFriedberg, A. 1993. Window Foucault, M. 1986. “Of Other Spaces.” Translated by Farocki, installation). H.2012. Taipei: Parallel (Video W.Ernst, 2010. “Cultural Archive versus Techno of 3D: On Some of the ____. 2013. “The ‘Return’ org/10.2979/victorianstudies.54.3.495 Victorian Studies 54(3): 495–516. http://dx.doi. Technology Era.” of the Image in the Victorian Pressand M. Paasche, 62–79. Berlin: Sternberg Desires in Art and Architecture, edited by S. Bull Conrad’s Halsted Street.” Urban Images: Unruly Ruttman’s Berlin: Symphony ofaGreat City and Angle 8(3–4): 63–70. Film, Its Spectator and the Avant-Garde.” Wide Perception. Microsoft Press. the Post Modern org/10.2307/464648 J. Miskowiec. Diacritics Taipei Fine Arts Museum. edited by E. Røssaak, 53–73. Oslo: Novus Press. mathematical Storage.” In The Archive in Motion 246. Twenty-First Century.” 39(2): 217– Critical Inquiry Logics and Genealogies of the Image in the http://dx.doi.org/10.1086/668523 . Cambridge, MA: MIT Press. Boston, MA: Houghton Mifflin. . Berkeley: University of California . Berkeley: University of California DOI 16: 22–27. http://dx.doi. :10.1558/jca.v2i1.27134 2.1 (2015)1–147 - , - 65

© 2015 EQUINOX PUBLISHING LTD © 2015 EQUINOX PUBLISHING LTD 66 ISSN (print) 2051-3429(online) 2051-3437 Archaeology of Contemporary Journal around a fifth of the film’s original files were corrupted as their disk storageThe had failed. Pixar went to produce the DVD release of Toy (dir. Story Lasseter 1995), they found that materiality of digital media breaking through these fantasies abound. For instance, when false, even if they produce everyday ways of acting with technology. Examples of the located nowhere inparticular. dreams ofan everlasting cloud of digital documentation, accessible everywhere yet a fluid, ideal world divorced from the everyday dirt and matter of daily life. It produces and too slow to be fragile. This perception has long animated illusions of the digital as of physical fragility would seem to make little sense. Assumedly, data are both too fast data are oftenthoughttobebothephemeraland everlasting,categoriesforwhichakind Data storage isa fragile thing; it is physical and in need ofcare, or else itbreaks. Yet P.O. Norway. Box 1093, Blindern, Email: [email protected] Norway. Address for correspondence: University of Oslo, Department of Media and Communication, and Communication, University ofOslo and Professor at Nordland College of Art and Film, Lofoten, Synne Tollerud Bull is a part of the artist duo Bull.Miletic, a PhD candidate at the Department of Media Morgan, D. 2015. “Beyond Destiny and Design: Marchand, R. 1992. “The Designers Go to the Fair Levi, P. 2012. Cinema byOther Means. New York: Kittler, F. A. 1999. Gramophone, Film, Typewriter. Huhtamo, E. and J. Parikka, eds. 2011. Media Hauss-Fitton, B. 1994. “Futurama, New York World’s Have Taken____. Forthcoming. ”Nothing Will Place Anyone attuned to the material culture of technology knows that these narratives are org/10.1002/9781118587751.ch14 J. McElhaney. Oxford: Blackwell. http://dx.doi. Films.” In ACompanion toFritz Lang , edited by Camera Movement in Fritz Lang’s German org/10.2307/1511638 formed.” to the‘Futurama,’ Factory Trans and the Visit II: Norman Bel Geddes, The General Motors’ Oxford University Press. Stanford, CA: Stanford University Press. Translated by G. Winthrop-Young and M. Wutz. cations. Archaeology: Approaches, Applications, and Impli- Fair 1939-1940.” Rassegna 60: 5–69. University ofAmsterdam Press. edited by S. Ø. Sæther and S. T. Bull, Amsterdam: Movement.” In Screen Space Reconfigured, Except Space: The Unsettling Nature of Camera n

[email protected] University ofSydney, Australia Fragile Grant Bollmer Grant Berkeley: University of California Press.Berkeley: University of California Design Issues 8(2): 23–40. http://dx.doi. Storage, Digital Futures

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Forum World View, n.d. “About World Enterprises, View Weizman, atthe Threshold E.2015 “Violence of P.Virilio, 1997. Open Sky. Translated by J. Rose. Steyerl, H. 2012. The Wretched of the Screen. Berlin: Schivelbusch, W. 1986. The Railway Journey: The Sennet, R. 1993. The Conscience of the Eye: The Ockman, J. 2000. “Architecture in a Mode of Distrac- Morshed, A. 2004. “The Aesthetics of Ascension in com/about/ Inc.” Avialable online: http://worldviewexperience. of-detectability/ www.e-flux.com/journal/violence-at-the-threshold- Detectability.” London: Verso. Steinberg Press. Press.. Berkeley: University ofCalifornia Century Industrialization of Time and Space in the 19th and Faber. Design and Social Life of Cities. London: Faber 196. New York: Princeton Architectural Press. Architecture and Film, tion: Eight Takes on Jacques Tati’s Playtime http://dx.doi.org/10.2307/4127993 Society of Architectural Historians 63(1): 74–99. Norman Bel Geddes’ Futurama.” Journal of the e-flux 64. Available online: http:// DOI

edited by :10.1558/jca.v2i1.27134 M. Lamster, 171– 2.1 (2015)1–147 .” In