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As stated at the outset, humanity is moving from evolutionary consciousness toward conscious evolution due in part to our recognition and greater understanding of the systems thinking principle of anamorphosis.
Another feature of the anamorphic "trick film," and of anamorphosis more generally, is this: of the two perspectives, one is earlier, the other later; one is naive, and the other sophisticated; one is superficial, the other profound; one is, we might say, manifest, the other latent; and so on.
As in Clarke's meditation on Lamia's mutability, anamorphosis is intrinsically linked (in Lamia's case, perhaps fatally) to the anthropomorphic.
On anamorphosis, see Lacan, The Four Fundamental Concepts of Psycho-Analysis.
For Emanuele Tesauro (1592-1675), the foremost theorist of the literary Baroque, anamorphosis and optical illusions are capable of "opening," that is, of expressing a view of life as unstable, uncertain, in which all knowledge is partial because of the relationship between an object and a viewer or speaker, whose conditions changes continuously; and yet, in his own words "omnis in unum," they could be used to "close" the circle by stressing their ability to compress and reduce a great number of different objects.
The seven loosely connected chapters meditate on such topics as ut pictura poesis (chapter 2), anamorphosis and optical paradoxes (chapter 3), representations of secrecy such as masks (chapter 4), elements of landscape like gardens, mountains, and caves (chapter 5), reflections in water, mirrors, and echos (chapter 6), and revelations through windows and other openings (chapter 7).
The anamorphosis, evanescence of the object, content, or meaning occurs through, and in the depths of the [image] form.
The anamorphosis of tropes, the sequence of figurative transformations required by the interpretation of any given trope, inevitably reasserts distinctions that cannot be reduced to trope.
Architects building are Anamorphosis, Tadao Ando, Asymptote, Shigeru Ban, Jung-Ho Chang, Diller + Scofidio, Fo Architects, Future Systems, Zaha Hadid, Heikkinen & Komonen, Coop Himmelb(l)au, Steven Holl, Hollmen Reuter Sandman, Arata Isozaki, Lot-Ek, Greg Lynn, Morphosis, MVRDV, Ocean North, Juhani Pallasmaa, Snohella, Studio Granda, UN Studio, Ten Arquitectos, Anders Wihelmson, Williams & Tsien, Lebbeus Woods.
See also my commentary on this piece in relation to the vanishing point, anamorphosis and the change of perspective with regard to the Dover Beach scene in Scott Wilson, Cultural Materialism (Oxford: Blackwell, 1995), 161-65.
It needs to be stressed, however, that, by gesturing to such contorted images as Holbein's famous death's head in The Ambassadors, Lacan "does not suggest that anamorphosis is itself the gaze"; rather, "its dynamic, catching [the viewer/spectator] off guard with a mark of death, simply explains how the gaze works" (Saper, p.