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[Music]
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[Music]
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in slow motion the test cars move
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towards each other on collision courses
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unwinding behind them the coils that ran
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to the devices by the impact zone as
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they collided the debris of wings and
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fender floated into the air the cars
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rocked against each other as they
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continued on their disintegrating
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courses in the passenger seats the
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plastic models transcribed graceful arcs
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into the buckling rubes and windshields
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here and there a passing fender severed
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a torso the air behind the cars was a
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carnival of arms and legs
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[Music]
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I think the key image of the 20th
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century is the man in the motorcar it
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sums up everything the elements of speed
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drama aggression the junction of
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advertising and consumer goods for the
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technological landscape the sense of
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violence and desire power and energy the
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shared experience of moving together to
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an elaborately signaled landscape we
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spend a substantial part of our lives in
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the motorcar and the experience of
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driving condenses many of the
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experiences of being a human being in
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the 1970s the marriage of the physical
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aspects of ourselves the imaginative and
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technological aspects of our lives I
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think that the 20th century reaches its
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highest expression on the highway
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everything is there the speed and
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violence of our age it's strange love
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affair with a machine with its own there
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[Music]
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the styling of motor cars of the
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American motorcar in particular has
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always struck me as tremendously
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important bringing together all sorts of
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visual and psychological factors as an
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engineering structure the car is totally
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uninteresting to me I'm interested in
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the exact way in which it brings
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together the visual codes for expressing
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our ordinary perceptions about reality
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for example that the future is something
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with a fin on it and the whole system of
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expectations contained in the design of
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the car expectations about our freedom
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to move through time and space about the
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identities of our own bodies our own
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musculature
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the complex relationships between
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ourselves and the world of objects
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around us these highly potent visual
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curves can be seen repeated in every
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aspect of the 20th century landscape
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what do they mean have we reached the
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point now in the 70s where we only make
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sense in terms of these huge
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technological systems I think sir myself
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and that it is the vital job of the
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writer to try to analyze and understand
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the real significance of this huge
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metallized dream
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[Music]
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I'm interested in the automobile as a
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narrative structure as a scenario that
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describes our real lives and our real
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fantasies if every member of the human
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race would have vanish overnight I think
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it would be possible to reconstitute
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almost every element of human psychology
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from the design of a vehicle like this
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as a writer I feel I must try to
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understand the real meaning of a lot of
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common place for tremendously
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complicated events I've always been
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fascinated by the complexity of movement
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when a woman gets out of the car
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they're ungainly transit across the
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passenger seat through the nearside door
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the overlay of her knees on the metal
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door thing
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the conjunction of the aluminized gutter
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trim with the volumes of the thighs
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the crushing of her left breast by the
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doorframe and it's self extension as she
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continued to rise
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the movement of her left hand across the
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chromium trim of the right headlamp
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assembly
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the movements distorted in the
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projecting arrow place of the bonnet
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the Joplin drape of her pubis as she sat
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in the driver's seat
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the soft pressure that her thighs
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against the rim of the steering you
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[Music]
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[Music]
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[Music]
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the close relationship between our own
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bodies from the body of the motorcar is
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obvious American automobile stylists
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have been exploring for years the
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relationships between sexuality on the
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motor car body the primitive algebra of
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recognition which we use in our
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perception of all organic forms
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if the man in the motorcar is the key
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image of the 20th century then the
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automobile crash is the most significant
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trauma the car crash is the most
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dramatic event in most people's lives
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apart from their own deaths and in many
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cases the two will coincide
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are we just victims in a totally
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meaningless tragedy or does it in fact
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take place with our unconscious and even
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conscious connivance each year hundreds
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of thousands of people are killed in car
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crashes all over the world millions are
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injured are these arranged deaths
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arranged by the colliding forces of the
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technological landscape by our own
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unconscious fantasies about power and
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aggression our obsessions with consumer
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goods and design the overlaying fiction
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for the more and more taking the place
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of reality it's always struck me that
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people's attitudes towards the car crash
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are very confused but they assume an
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attitude but in fact is very different
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from their real response if we really
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fear the car crash none of us would be
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able to drive a car
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[Music]
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I know that my own attitudes to the
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crash car are just as confused the
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distorted geometry of this tremendously
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stylized object let's face it the most
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powerful symbol of our civilization
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seems to pull at all sorts of concealed
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triggers in the mind of postures of
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people in crashed vehicles deformed
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manufacturers styling devices crashed
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General Motors cars look very different
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from crashed for the stylizing of the
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instrument panel which after all is the
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model for our own wounds driving around
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each of us knows what is literally the
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shape of our own death
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regaining consciousness she stared at
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the blood on her legs the heavy liquid
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pooled at her skirt
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the bruise under her left breast reached
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behind her sternum seizing like a hand
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at her heart
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she set up
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lifting herself from the broken steering
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wheel uncertain for a moment whether the
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car windshield had been fractured
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against her forehead the strands of
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blood formed a torn veil
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above her knees I hadn't moved toward
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the door evil
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as she watched the door opened and she
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fell out
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[Music]
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lifting herself she held tightly to the
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car feeling the pressure of the doorsill
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against her hand turning she stared at
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the waiting figure of the man she knew
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to be dr. Tallis
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[Music]
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however seeing some films on television
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of chest crashes a few years ago they
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were using American cars of the late 50s
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a period I suppose when the American
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Dream and American confidence were at
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their highest point metering coils
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trailed out of the windows and they had
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dummies sitting in them they were
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beautifully filmed they filled them
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beautifully because they wanted to know
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what was happening they weren't
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interested in the aesthetics of the
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thing these cars were in head-on
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collisions right-angle collisions and
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sideswipes and plowing into other
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structures like utility poles one could
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see four feet of metal suddenly become
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one foot filled in slow motion these
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crashes had a beautiful stylized grace
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the power and weight of these cars gave
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them the immense classical dignity it
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was like some strange technological
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ballet
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[Music]
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[Music]
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[Music]
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I remember looking at these films and
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thinking about strange psychological
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dimensions they seem to touch they seem
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to say something about the way
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everything becomes more and more
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stylized more and more cut off from
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ordinary feeling it seems to me that we
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have to regard everything in the world
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around us as fictional as if we were
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living in an enormous novel the kind of
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distinction that Freud made about the
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inner world of the mind between say our
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dreams appeared to me and what they
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really meant now has to be applied to
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the outer world of reality all the
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structures in it flyer was a motorways
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office blocks and factories are all part
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of this enormous novel
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take a structure like a multi-story car
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park one of the most mysterious
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buildings ever built
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is it a model some strange psychological
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state some kind of visual glimpse within
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its bizarre geometry what effect does
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using these buildings have on us for the
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real myths of the century being written
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in terms of these huge unnoticed
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structures
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[Music]
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more exactly I think that new emotions
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and new feelings are being created that
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modern technology is beginning to reach
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into our dreams and change our whole way
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of looking at things and perceiving
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reality but more and more it is drawing
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us away from contemplating ourselves to
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contemplating its world
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you
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