ABSTRACT
This chapter explores the relation between the screen's mode of appearance in space and perspective projection as the signifying process of representation and self-reference between image and space. It examines in depth Lacan's shift on Alberti's conception of perspective exemplified by the negative affirmation that the latter is not simply a matter of sight. In consequence the chapter showcases how perspective concerns a logical mapping of space where anamorphosis is considered the rule, instead of exception, in the production of visual and spatial meaning. The effects of this shift and the screen's potential to question the nature of architecture's space through its moving images are examined via Brunelleschi's seminal experiment in Florence. Hubert Damisch's implied tautology of using two mirrors or a mirror and painted panel in the experiment is studied in order to portray perspective and the screen's function as operating beyond a one-to-one correspondence of features. That is, not exhausted at descriptive illusion but rather able to show the limits of the representational process which allows illusions to take place.
