to configurations. It is the transition that produced the now 
quite correct observation: “If it works, it’s obsolete.” When 
electric speed further takes over from mechanical movie 
sequences, then the lines of force in structures and in media 
become loud and clear. We return to the inclusive form of the 
icon.

     To a highly literate and mechanized culture the movie 
appeared as a world of triumphant illusions and dreams that 
money could buy. It was at this moment of the movie that 
cubism occurred, and it has been described by E. H. Gombrich 
(Art and Illusion ) as “the most radical attempt to stamp out 
ambiguity and to enforce one reading of the picture—that of a 
man-made construction, a colored canvas.” For cubism 
substitutes all facets of an object simultaneously for the “point 
of view” or facet of perspective illusion. Instead of the