Along with the global controller who is responsible for the behavior of every part, any possible way of understanding the whole from these reassembled fragments is impossible. The maker vanishes at the moment reality is reassembled. Art escapes the gravitational pull of ritual and aura by virtue of its thoroughgoing technization of representation and, importantly, the complementary technization of perception itself. Other modes of representation allow their equipmentality, the residue of their technique to remain strictly visible, whereas film, by virtue of its extreme technization makes the technical aspects invisible. Film provides the illusion of a more direct apprehension of reality.
Distraction replaces concentration.
Evidently a different nature opens itself to the camera than to the naked eye if only because an unconsciously penetrated space is substituted for a space consciously explored by man. Even if one has a general knowledge of the way people walk one knows nothing of a person's posture during the fractional second of a stride. The act of reaching for alight or a spoon is familiar routine, yet we hardly know what has really gone on between hand and metal, not to mention how this fluctuates with our moods. Here the camera intervenes with the resources of its of its lowerings and liftings, its interruptions and isolations, its extensions and accelerations, its enlargements and reductions. The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.