Kubrick’s audible bodies: unseen subjectivities in 2001 and The Shining

Stanley Kubrick is regarded as a filmmaker of complex imagery. Yet the vitality of his more metaphysical works lies in what is unseen. There is an embodiment to Kubrick’s films that maintains a sense of subjectivity, but one which is unapparent and non-visual. This opens another way into Kubrick’s works, that of conditions of audibility (hearing/listening), affectivity, and signs. To think of embodiment from such an audible perspective requires one to subvert film spectatorship (the frame) and instead enter the reality of the film’s immanent, borderless unfolding as itself. This essay applies Gilles Deleuze’s semiotic concepts of cinema, metaphysics, and subjectivity to conditions of audibility and unseeing, a connection Deleuze largely ignored in his writings. These dual concepts of audibility and unseeing break prevailing analytical norms in cinema discourse that affirm limitations via material, visual, textual, and spatial reification: subjective-objective delineations, the body and the gaze, sound as necessarily spatial/material, and the dominance of images in regard to aesthetics, surveillance, and evidence. Instead, this essay moves through Kubrick’s constructions of milieu that are unseen in the midst of an otherwise visual unfolding, and audible in the midst of an otherwise sonic unfolding. To consider Kubrick’s films through their audible embodiment, one must detach (1) the microphone from its adherence to space, (2) the body from its visual gaze. Here, sounds, images, and objects become secondary to hearing and signs in a temporal unfolding, resulting in a cinema that is experiential rather than representational. This opens to an actuality of spirit within the world of the film, offering new opportunities for creativity in the cinematic form.

The Oculomotor Signature of Expected Surprise

Expected surprise could be defined as the anticipation of the uncertainty associated with the future occurrence of a target of interest. We hypothesized that spatial expected surprise could have a different impact on anticipatory and visual gaze orientation. This hypothesis was tested in humans using a saccadic reaction time task in which a cue indicated the future position of a stimulus. In the ‘no expected surprise’ condition, the visual target could appear only at the previously cued location. In other conditions, more likely future positions were cued with increasing expected surprise. Anticipation was more frequent and pupil size was larger in the no expected surprise condition compared with all other conditions. The latency of visually-guided saccades increased linearly with the logarithm of surprise but their maximum velocity did not.In conclusion, before stimulus appearance oculomotor responses were altered probably due to increased arousal in the no expected surprise condition. After stimulus appearance, the saccadic decision signal could be scaled logarithmically as a function of surprise (Hick’s law). However, maximum velocity also reflected increased arousal in the no surprise condition. Therefore, expected surprise alters the balance between anticipatory and visually-guided responses and differently affects movement kinematics and latency.

Visual gaze behaviour during free-kicks in football

Visual gaze behaviour, and in particular Quiet Eye (QE), have been found to be important in aiming tasks in multiple sports. The aim of this study is to provide insight into the characteristics of gaze behaviour in a moving condition, that is of football players during the run-up and kick of free kicks. Fourteen skilled youth players performed a set of free-kick trials while their eyes were being tracked. Two QE periods have been determined prior to a critical phase of the kick: QE Target and QE Ball. For the scored trials both the QE Target (M = 886 ms SE = 78 ms) and QE Ball (M = 627 ms SE = 52 ms) duration were significantly longer than in the missed trials, QE Target (M = 488 ms SE = 45 ms) and QE Ball (M = 513 ms SE = 80 ms). The analysis of the number of fixations suggests that one fixation on a target is the optimum, and more (2-3x) or no fixations resulted in less accurate shooting. These results provide insight into the characteristics of football shooting that can be incorporated into shooting practice in order to improve performance.