Architexture

Dickens's architextures do not present us with a form – of a building, of the city – as a meaning, system or structure. Rather, we are presented with the textual event, the architextural event, as a means of exposing the limits of fixed meaning, and, by this, the limits of the utterable.

Moving through Richter's artwork, one is actually “transported” into that haptic “architexture” of recollection in which a filmic-architectural bond is pictured, figured as a map.

Understood in this way, cinema becomes an inhabitable space, a mode of dwelling, and a kind of 'living architexture', in the words of Giuliana Bruno.

Indeed, these narratives are the product of not mythological thinking but causal thinking, conceived as archives of social events as explanatory mechanisms also known as architextures. The notion of architexture refers to African cinema as a site of power and resistance, particularly against logics imposed by an authoritarian state, and the knowledge that productive globalization involves an equal relationship and protection under agreed practices and laws.