My research is bifurcated between the studio (art object) and my work as historian/theorist. The analytic proposed in this taxonomic study of cinematic windowing, as noted at the beginning of this book, was developed in part through my practice-based methodology; this engagement with heuristics informs my theory of windowing’s morphology and structure.1 With any artist who has a dual practice, in art and in theory, there is always an issue of relations between the two distinct fields. This appendix was written at the request of the publisher to clarify these relationships. When a theory is heuristic in nature, concerned with the formative dimensions of the work, constructing this relationship is easy: It should be implicit, something ...
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