"I am a camera with its shutter open, quite passive, recording, not thinking," he wrote, famously, at the beginning of "Goodbye to Berlin".
Christopher Isherwood made his famous declaration of artistic intent in 1939: "I am a camera with its shutter open, quite passive, recording, not thinking… Some day all this will have to be developed, carefully printed, fixed".
He gives the reader a view of New York through the lens of a photographer, evoking the famous analogy Christopher Isherwood made of himself as a camera "with its shutter open, quite passive, recording".
Instead, Isherwood was the eternal observer, who wrote in Goodbye to Berlin that, "I am a camera with its shutter open, quite passive, recording, not thinking," – a quote which inspired the Broadway play and film I Am a Camera.
Claude's interpretation of what it is to be a camera, far from following Christopher Isherwood's "quite passive, recording, not thinking", proves a liberal one, which retains the idea of his presence at the scene but places no importance on the veracity of what he writes about.
The work — his forty-first documentary — involves far more than the mere fact of directorial decision-making, the selection of subjects and shots, the analytical composition and editorial organization that so evidently distinguishes his films both from passive recording and from less accomplished documentaries.
"All it takes is one foreign agency hacking [the recording device], and setting it to passive record mode," said Moss.
Applying seismic interferometry to noise measurements, we extract surface waves by cross-correlating several minutes of passive records; this approach is distinct from previous studies that used hours or days of passive records for cross-correlation.
Being progressivist, neo-Darwinism fit well with the view that history is a passive record of the emergence of inevitable events.
In Australia, passive record linking to state cancer registries and death certificates is being conducted, and the medical records of case probands have been followed up for recurrence and death [ 20].
It shaped him as a writer — a fragile, passive observer recording the surface absurdity in the world around him, more amused by his material than in command of it.
