Journal articles on the topic 'Horizontal traffic signs'

Abstract This article examines the effect of the values of the longitudinal inclines of the road in relation to the location of horizontal road traffic signs. In a simple analysis, baseline scenarios were evaluated to demonstrate results that can be helpful in assessing the design of horizontal road traffic signs. As this is a broad topic, only the recommendations resulting from the test values are listed at the end of the text. The implementation of horizontal traffic signs in the right section of the road can be an important factor in improving road transport safety.

The article describes the change in the reflection of the horizontal sign examined in the scientific work taking into account the factors of road maintenance and traffic intensity. Methods applied in accordance with the standards in force in the European Union. In order to carry out the study in a smooth way, the scientific work analyzes the horizontal amount of road marking materials, types of markings, the change of reflection in the main traffic conditions. The current legal regulation of Lithuania and other European countries, the USA is also reviewed. “The research work also develops the topic of the effectiveness of the methodology of maintenance and renewal of horizontal road markings abroad and in the Republic of Lithuania.” Recommendations are provided on how to improve the quality of horizontal road marking maintenance. Analyzes of national legislation on horizontal vehicle signs, recommendations on how to improve them to ensure the quality of the production of larger horizontal signs, or the best traffic conditions for all road users. Evaluating the reflectivity of selected streets in dry and wet conditions, making suggestions on how to improve the horizontal reflections of road markings and, at the same time, traffic safety.

Abstract In the future there will be a lot of changes and development concerning autonomous transport that will affect all participants of transport. There are still difficulties in organizing transport, but with the introduction of autonomous vehicles more challenges can be expected. Recognizing and tracking horizontal and vertical signs can cause a difficulties for drivers and, later, for autonomous systems. Environmental conditions, deformity and quality affect the perception of signals. The correct recognition results in safe travelling for everyone on the roads. Traffic signs are designed for people that is why the recognition process is harder for the machines. However, nowadays some developers try to create a traffic sign that autonomous vehicles can use. Computer identification needs further development, as it is necessary to consider cases where traffic signs are deformed or not properly placed. In the following investigation, the advantages and disadvantages of the different perception methods and their possibilities were gathered. A methodology for the classification of horizontal and vertical traffic signs anomalies that may help in designing better testing and validation environments for traffic sign recognition systems in the future was also proposed.

Mountain highways are traffic accident-prone locations. Such factors as vehicle speed and trajectory hold a considerable proportion in the accidents. Highway line features is the basis to determine vehicle speed. In this paper, the running speed of vehicles on mountain highways is taken as the main object of study and the observation and survey data on vehicles deceleration behaviors before they enter a curve on the curved sections of mountain highways are taken as the reference object to establish the drivers driving speed control model on the horizontal curve sections of mountain highways, and an example is used to conduct comparative validation on the driving deceleration model. Calculation results show that the deceleration control model established in this paper is feasible and effective, can better simulate vehicles deceleration behaviors when they pass through speed limit signs or the sections with road surface deceleration signs and provides a new theoretical method and guiding basis for the line features design, traffic safety analysis and evaluation and traffic safety improvements of mountain highways.

Highway navigation is often affected by complex topography, and the flat curve plays an important role in the horizontal alignment design of a highway. Many curves are formed, where visibility could be decreased. Thus, the indicative function of a traffic sign plays a crucial role in ensuring driving safety at the curve. Due to the blocked visibility, the probability of the traffic sign occlusion at the curve of operating highways is quite high. It is urgent to consider the clearing obstructions around traffic signs at curves during highway construction. In this study, the potential of visual occlusion for traffic signs on curved highways was investigated. Firstly, the driver’s visibility window that contains traffic signs was defined and criteria of visual occlusion were proposed. Secondly, a geometric occlusion design formula was established to mimic the visual recognition process of traffic signs on a curved highway, yielding the formula to calculate the visibility window. Finally, the occlusion design formula was applied into a case study of the Beijing-Hong Kong-Macau Expressway (Hunan section), in which visibility windows were calculated and analyzed. The obtained results verified the correctness and effectiveness of the occlusion design formula developed in this study.

Advisory speed signs on horizontal curves have been widely used in many countries over the world to improve traffic safety; however these road signs have not been applied in Vietnam. This paper aims to use the direct method and ball-bank indicator one to determine advisory speeds for 10 horizontal curves all with speed limit of 60 km/h on National Highway No. 4A in Lang Son province. The results showed that, advisory speeds were determined by the ball-bank indicator method ranging from 40 to 45 km/h for curves with radius of 70 m or less and from 50 to 55 km/h for curves with radius varying from 75 m to 120 m. As compared to the ball bank indicator method, advisory speeds determined by the direct method were 0 – 5 km/h higher if using 85th percentile speeds of cars, but 5 – 10 km/h lower if using average speeds of trucks. Keywords: advisory speed limit; operating speed; horizontal curve; ball-bank indicator; traffic safety.

The chevron alignment sign is an important traffic control device used to warn drivers of the severity of a curve by delineating the alignment of the road around that curve. FHWA's Manual on Uniform Traffic Control Devices for Streets and Highways provides the following guidance on the spacing of chevrons around a curve: “The Chevron Alignment sign should be spaced such that the road user always has at least two in view, until the change in alignment eliminates the need for the signs” and “the Chevrons should be visible for a sufficient distance to provide the road user with adequate time to react to the change in alignment.” This guidance is broad to account for geometric design features and site obstructions such as steep vertical curvature or heavy vegetation. It also allows flexibility based on site characteristics and available funds, and the use of this verbiage creates a lower liability risk than there would be if a spacing chart were used. However, the broad wording allows for inconsistencies in the roadway system and provides little guidance for maintenance personnel. A field study was conducted to investigate the impacts of varying the number of chevrons in view around a curve. A spacing chart was then developed to simplify maintenance personnel's responsibility for choosing appropriate chevron spacing. The results of the field study indicated that having more than two chevrons in view around the curve provided a benefit in the form of a reduction in speed of about 3 mph at night. Smaller speed reductions were observed during daylight.

The assignment of phase center positions (in 2D or 3D) derived from SAR data to physical object is challenging for many man-made structures such as buildings or bridges. In contrast, light poles and traffic signs are promising targets for tasks based on 3-D geolocation as they often show a prominent and spatially isolated appearance. For a detailed understanding of the nature of both targets, this paper presents results of a dedicated simulation case study, which is based on ray tracing methods (simulator RaySAR). For the first time, the appearance of the targets is analyzed in 2D (image plane) and 3D space (world coordinates of scene model) and reflecting surfaces are identified for related dominant image pixels. The case studies confirms the crucial impact of spatial resolution in the context of light poles and traffic signs and the appropriateness of light poles as target for 3-D geolocation in case of horizontal ground surfaces beneath.

There are a number of factors that cause motor vehicles to rollover. However, the impacts of roadway characteristics on rollover crashes have rarely been addressed in the literature. This study aims to apply a set of crash prediction models in order to estimate the number of rollovers as a function of road geometry, the environment, and traffic conditions. To this end, seven count-data models, including Poisson (PM), negative binomial (NB), heterogeneous negative binomial (HTNB), zero-inflated Poisson (ZIP), zero-inflated negative binomial (ZINB), hurdle Poisson (HP), and hurdle negative binomial (HNB) models, were developed and compared using crash data collected on 448 segments of Malaysian federal roads. The results showed that the HTNB was the best-fit model among the others to model the frequency of rollovers. The variables Light-Vehicle Traffic (LVT), horizontal curvature, access points, speed limit, and centreline median were positively associated with the crash frequency, while UnPaved Shoulder Width (UPSW) and Heavy-Vehicle Traffic (HVT) were found to have the opposite effect. The findings of this study suggest that rollovers could potentially be reduced by developing road safety countermeasures, such as access management of driveways, straightening sharp horizontal curves, widening shoulder width, better design of centreline medians, and posting lower speed limits and warning signs in areas with higher rollover tendency.

As a traffic language, sharp turn sign is a kind of important road infrastructure that indicates a sharp turning will show up at the coming road, warning drivers to slow down to ensure the driving safety. In this paper, real vehicle test was carried out on mountain road with an eye tracker equipment. At different driving speeds, parameters of eye movement characteristics in the visual cognition process of sharp turn signs were collected, including distribution of gaze points, fixation and saccade. Simultaneously, driver’s scan paths of recognizing sharp turn signs with different supporting forms were gathered. The results of the analysis of testing data showed that the dispersion of distribution of gaze points would increase with driving velocity. Saccade was the main method for driver to capture information of sharp turn signs. While driving speed was lower than 60[Formula: see text]km/h, fixation was also one of the methods. For the visual cognition process of sharp turn sign with cantilever, compared to post, the searching scope was wider both in horizontal and vertical directions. This study is beneficial to evaluate the rationality of sharp turn signs, promoting the using efficiency of signs and improving the driving safety on mountain road.

The AASHTO 2001 Standard Specifications for Structural Supports for Highway Signs, Luminaires and Traffic Signals include revised wind load provisions and new criteria for fatigue design. These provisions and criteria differ considerably from those in previous editions of the specifications, and their impact on the design of cantilevered overhead sign supports has not been fully studied. This study assesses the effect of these provisions and criteria on the design of cantilevered overhead sign support structures with the horizontal support composed of a four-chord truss. Wind and fatigue load design calculations of typical structures, located at sites across the United States, were performed with the design provisions of the 2001 supports specifications and compared with design in accordance with the previous edition of the specifications. The induced forces in the primary members of the cantilevered sign support structure were calculated, and corresponding member sizes and weights were estimated. The results of the study demonstrated the effect of the wind and fatigue load provisions on the design of cantilevered overhead sign support structures.

An overview of the pedestrian accident problem in South Africa is given, and the engineering solutions implemented to improve pedestrian safety are discussed. The pedestrian problem accounts for part of the road safety problem in South Africa. In recent years there has been a reduction in the number of pedestrian fatalities and injuries. Research findings in the early 1980s showed that inadequate provision was being made for pedestrians in a country where about 80 percent of all trips were made by public transport and by foot. A comprehensive research program has been conducted since 1980 to upgrade all the facilities through the development of warrants for the provisions and guidelines for the correct layout and siting of the various types of pedestrian facilities. The various operational problems encountered at the different types of pedestrian facilities are discussed to provide a safer environment. These problems and solutions are dealt with according to the various traffic engineering approaches adopted to improve pedestrian safety. First, the methods used to integrate pedestrians with vehicular traffic are highlighted, namely through temporal separation (pedestrian crossings, school patrol crossings, traffic lights) and soft separation (traffic calming measures). Second, the technologies developed to segregate pedestrians from vehicular traffic through horizontal separation (pedestrian malls, township layout, sidewalks) and vertical separation (foot bridges and subways) are discussed. Other aspects are pedestrian facilities on rural roads, pedestrian signs and markings, and facilities for disabled pedestrians. Apart from the dissemination to practitioners of individual research reports on pedestrian facilities produced since 1980, the warrants and guidelines developed since 1980 were incorporated into a pedestrian facility manual published in 1993. Technology transfer workshops were conducted throughout South Africa to train road authorities and consulting engineers on use of the manual. It is concluded that the implementation of these warrants and guidelines since the mid-1980s together with a holistic traffic safety management plan have contributed to the reduction in pedestrian fatalities and injuries since 1989.

Functionality of a square used for ferry boats boarding has repercussions on safety and comfort of users, as well as on the efficiency of maritime transport. Inadequate use of the infrastructure causes driving errors followed by corrective manoeuvres, loss of time and potential accidents with consequences for community and the maritime transport compa-ny. The wide diversification of traffic components and payment methods are generally managed through a traditional horizontal and vertical signage system that does not refer to any current legislation. Therefore, the purpose of this research is to investigate driver's behaviour and the interaction that takes place between the latter and the environ-mental context. In particular, the authors focused on the study of the driver’s workload in a simulated environment, considering a users' sample and different driving scenarios inside the boarding area, concerning traffic conditions (isolated vehicle or presence of disturbing vehicles) and signs position. All this, in order to evaluate whether any change in a virtual context could bring real benefits to drivers, before being transferred to the real context. The results obtained, in terms of subjective workload and performance measures, have made it possible to judge the different solutions proposed in a simulated environment through synthetic indices referring to the entire boarding place or at certain parts of it. In this way, the manager can decide to change the circulation of the entire square or only some aspects of detail, such as some signals, in the event that they manifest an evident difficulty in the transfer of infor-mation. The use of the simulated environment allows greater speed in identifying the best solution, lower costs (avoid-ing the creation of a critical configuration for circulation) and greater user safety, since risky manoeuvres are identi-fied and corrected by the simulator. The proposed procedure can be used by managers for a correct arrangement of the signs, for the purpose of correctly directing the flows and maximizing the flow rate disposed of.

Traffic guide signs should be settled in a freeway tunnel when there is a short distance between the interchange exit ramp and the tunnel exit in order to provide enough reaction time for drivers. However, there is not enough space for guide sign in a tunnel adopting the same design method as the guide sign along the general segment of the freeway. The maximum dimension of a guide sign in tunnel should be studied firstly. Based on the analysis of the characteristics of the inner outline design of the tunnel and its relationship with the guide sign dimension, the study was classified into different combination conditions: left superelevation and right superelevation under two-, three-, or four-lane freeway tunnels, respectively. The essential elements, the horizontal and vertical clearances, the radius of the tunnel vault circles, the angle of the superelevation, and the allowance vertical dimension for future sign installation were all taken into account to establish the dimension model of the guide sign in the tunnel. The maximum dimensions of the guide signs were proposed under different combination conditions. The results indicated that there is only one set of the width and the height to obtain the maximum area of the guide sign in the freeway tunnel. The height of the guide sign reduces with the increase of its widths, and the area of the guide sign increases and then reduces with the increase of its width under the same grade of superelevation. The changing trend and extent of the dimension of the guide sign under left superelevation condition were different from those under right superelevation.

Laser scanners on a vehicle-based mobile mapping system can capture 3D point-clouds of roads and roadside objects. Since roadside objects have to be maintained periodically, their 3D models are useful for planning maintenance tasks. In our previous work, we proposed a method for detecting cylindrical poles and planar plates in a point-cloud. However, it is often required to further classify pole-like objects into utility poles, streetlights, traffic signals and signs, which are managed by different organizations. In addition, our previous method may fail to extract low pole-like objects, which are often observed in urban residential areas. In this paper, we propose new methods for extracting and classifying pole-like objects. In our method, we robustly extract a wide variety of poles by converting point-clouds into wireframe models and calculating cross-sections between wireframe models and horizontal cutting planes. For classifying pole-like objects, we subdivide a pole-like object into five subsets by extracting poles and planes, and calculate feature values of each subset. Then we apply a supervised machine learning method using feature variables of subsets. In our experiments, our method could achieve excellent results for detection and classification of pole-like objects.

In this paper, we investigated drivers’ visual behaviour while travelling a road regularly opened to traffic in order to evaluate the effectiveness of the traditional scientific models and propose, at the same time, further measures useful for understanding the complex phenomenon. As is known, drivers acquire the necessary information for knowing the road geometry by visually detecting certain areas of the surrounding context. Some models in the literature have shown in a simple and convincing way these mechanisms, but they are valid only with specific assumptions, often very restrictive, such as a two-lane road, horizontal sign clearly visible and no interaction with other vehicles. For this reason, in this study we wanted to investigate different conditions, by estimating the visual strategy of some regular drivers on a three-lane road in presence of other vehicles. The visual behaviour was surveyed with the Tobii Glasses Eye Tracker and the resulting raw data were further manipulated by us to extract more useful information for our purposes. In particular, we quantified the driver’s dedicated attention to the various elements present inside the environmental context, both static (road edges, road signs, dashboard, etc.) and dynamic (other vehicles), meaning by this term those that could potentially collide with the trajectories of our vehicle. The achieved results, highlighting the limits of validity of some recent studies, contain some proposed indexes useful to give a better understanding of the visual behaviour in order to detect any eventual weakness of the road.

<p><strong>Abstract.</strong> Action cameras can operate in outdoor conditions, such as outside a car, and provide good quality imagery that can be exploited to collect geospatial data by photogrammetric means. Recent models include GPS, which can deliver position and time of individual images and video frames. That is the case of the very popular camera, Gopro Hero 5. This paper describes the implementation of a mobile mapping system, based on a GoPro Hero 5 camera mounted on the side rearview mirror of a car. Although the system can be dependent on the camera GPS positions only, it was developed to include a GNSS dual frequency receiver, carried inside the car, on the dashboard. Within good observation conditions, without tall buildings, differential positioning (either RTK or PPK) provides the trajectory with accuracy of a few centimetres. The precise time of individual frames is obtained from the camera GPS and positions are interpolated from the GNSS receiver. Assuming the car moves in a horizontal plane and the camera has no significant tilts, the system is treated in planimetric terms, with camera axis azimuth derived from the vehicle trajectory. Positions of observed objects, such as traffic signs, are derived from consecutive frames. Tests carried out in a sparse urban environment have shown planimetric accuracy better than 40<span class="thinspace"></span>cm, appropriate for large scale mapping, such as 1<span class="thinspace"></span>:<span class="thinspace"></span>2000. The system can be improved in several forms, through processing techniques, such as structure from motion, but without the incorporation of additional hardware.</p>

Experimental results of the truck-induced wind gust pressure were used as the basis to develop the equivalent static truck-induced wind pressure for fatigue design in the American Association of State Highway and Transportation Officials (AASHTO). The development does not explicitly quantify the stress range distribution, nor does the development discuss the implied reliability. No recommendation is given to consider truck-induced pressure for fatigue design in the Canadian Highway Bridge Design Code (CHBDC). This study quantifies the stress range due to truck traffic, and calibrates the equivalent static truck-induced wind pressure for fatigue design of overhead steel sign support structures. The reliability-based calibration is focused on the CHBDC. For the vertical excitations, the calibrated pressure is less than 50% of that suggested in the AASHTO. For the horizontal excitations, the calibrated pressure can be greater or smaller than that for the site-dependent natural wind gusts. Therefore, the truck-induced horizontal wind pressure could govern the fatigue design for some sites.

3D The three dimensional building modelling has been an interesting topic of research for decades and it seems that photogrammetry methods provide the only economic means to acquire truly 3D city data. According to the enormous developments of 3D building reconstruction with several applications such as navigation system, location based services and urban planning, the need to consider the semantic features (such as windows and doors) becomes more essential than ever, and therefore, a 3D model of buildings as block is not any more sufficient. To reconstruct the façade elements completely, we employed the high density point cloud data that obtained from the handheld laser scanner. The advantage of the handheld laser scanner with capability of direct acquisition of very dense 3D point clouds is that there is no need to derive three dimensional data from multi images using structure from motion techniques. This paper presents a grammar-based algorithm for façade reconstruction using handheld laser scanner data. The proposed method is a combination of bottom-up (data driven) and top-down (model driven) methods in which, at first the façade basic elements are extracted in a bottom-up way and then they are served as pre-knowledge for further processing to complete models especially in occluded and incomplete areas. The first step of data driven modelling is using the conditional RANSAC (RANdom SAmple Consensus) algorithm to detect façade plane in point cloud data and remove noisy objects like trees, pedestrians, traffic signs and poles. Then, the façade planes are divided into three depth layers to detect protrusion, indentation and wall points using density histogram. Due to an inappropriate reflection of laser beams from glasses, the windows appear like holes in point cloud data and therefore, can be distinguished and extracted easily from point cloud comparing to the other façade elements. Next step, is rasterizing the indentation layer that holds the windows and doors information. After rasterization process, the morphological operators are applied in order to remove small irrelevant objects. Next, the horizontal splitting lines are employed to determine floors and vertical splitting lines are employed to detect walls, windows, and doors. The windows, doors and walls elements which are named as terminals are clustered during classification process. Each terminal contains a special property as width. Among terminals, windows and doors are named the geometry tiles in definition of the vocabularies of grammar rules. Higher order structures that inferred by grouping the tiles resulted in the production rules. The rules with three dimensional modelled façade elements constitute formal grammar that is named façade grammar. This grammar holds all the information that is necessary to reconstruct façades in the style of the given building. Thus, it can be used to improve and complete façade reconstruction in areas with no or limited sensor data. Finally, a 3D reconstructed façade model is generated that the accuracy of its geometry size and geometry position depends on the density of the raw point cloud.

The paper conducts a survey of satisfaction level of users of two lane road in regards to constructional-geometrical factors influencing unimpeded traffic and influence of human element during its maintenance. Establishing the satisfaction level of users of existing road network is the primary goal of the paper, through the definition of Level of Service of relevance for the analysis of traffic of interurban road network. The survey was conducted on the road section Koprivna – Modriča, regional road R-465 (Bušletić - Modriča). Using a questionnaire, the values of influence to the level of users’ satisfaction were established. Traffic infrastructure and elements of horizontal road signs have been identified as two main indicators giving negative grade to the level of satisfaction. The end of paper gives a review of measures for the improvement of existing conditions.

Image 1: “Oklahoma State Highway Re-imagined.” CC BY-SA 4.0 2015 by author, using Wikimedia image by Ks0stm (CC BY-SA 3 2013). Introduction This article is divided in three major parts. First a scenario, second its context, and third, an analysis. The text draws on ethnographic research on security practices in the United States among police and parts of the intelligence community from 2006 through to the beginning of 2014. Real names are used when the material is drawn from archival sources, while individuals who were interviewed during fieldwork are referred to by their position rank or title. For matters of fact not otherwise referenced, see the sources compiled on “The Complete 911 Timeline” at History Commons. First, a scenario. Oklahoma, 2001 It is 1 April 2001, in far western Oklahoma, warm beneath the late afternoon sun. Highway Patrol Trooper C.L. Parkins is about 80 kilometres from the border of Texas, watching trucks and cars speed along Interstate 40. The speed limit is around 110 kilometres per hour, and just then, his radar clocks a blue Toyota Corolla going 135 kph. The driver is not wearing a seatbelt. Trooper Parkins swung in behind the vehicle, and after a while signalled that the car should pull over. The driver was dark-haired and short; in Parkins’s memory, he spoke English without any problem. He asked the man to come sit in the patrol car while he did a series of routine checks—to see if the vehicle was stolen, if there were warrants out for his arrest, if his license was valid. Parkins said, “I visited with him a little bit but I just barely remember even having him in my car. You stop so many people that if […] you don't arrest them or anything […] you don't remember too much after a couple months” (Clay and Ellis). Nawaf Al Hazmi had a valid California driver’s license, with an address in San Diego, and the car’s registration had been legally transferred to him by his former roommate. Parkins’s inquiries to the National Crime Information Center returned no warnings, nor did anything seem odd in their interaction. So the officer wrote Al Hazmi two tickets totalling $138, one for speeding and one for failure to use a seat belt, and told him to be on his way. Al Hazmi, for his part, was crossing the country to a new apartment in a Virginia suburb of Washington, DC, and upon arrival he mailed the payment for his tickets to the county court clerk in Oklahoma. Over the next five months, he lived several places on the East Coast: going to the gym, making routine purchases, and taking a few trips that included Las Vegas and Florida. He had a couple more encounters with local law enforcement and these too were unremarkable. On 1 May 2001 he was mugged, and promptly notified the police, who documented the incident with his name and local address (Federal Bureau of Investigation, 139). At the end of June, having moved to New Jersey, he was involved in a minor traffic accident on the George Washington Bridge, and officers again recorded his real name and details of the incident. In July, Khalid Al Mihdhar, the previous owner of the car, returned from abroad, and joined Al Hazmi in New Jersey. The two were boyhood friends, and they went together to a library several times to look up travel information, and then, with Al Hazmi’s younger brother Selem, to book their final flight. On 11 September, the three boarded American Airlines flight 77 as part of the Al Qaeda team that flew the mid-sized jet into the west façade of the Pentagon. They died along with the piloting hijacker, all the passengers, and 125 people on the ground. Theirs was one of four airplanes hijacked that day, one of which was crashed by passengers, the others into significant sites of American power, by men who had been living for varying lengths of time all but unnoticed in the United States. No one thought that Trooper Parkins, or the other officers with whom the 9/11 hijackers crossed paths, should have acted differently. The Commissioner of the Oklahoma Department of Public Safety himself commented that the trooper “did the right thing” at that April traffic stop. And yet, interviewed by a local newspaper in January of 2002, Parkins mused to the reporter “it's difficult sometimes to think back and go: 'What if you had known something else?'" (Clay and Ellis). Missed Opportunities Image 2: “Hijackers Timeline (Redacted).” CC BY-SA 4.0 2015 by author, using the Federal Bureau of Investigation (FBI)’s “Working Draft Chronology of Events for Hijackers and Associates”. In fact, several of the men who would become the 9/11 hijackers were stopped for minor traffic violations. Mohamed Atta, usually pointed to as the ringleader, was given a citation in Florida that spring of 2001 for driving without a license. When he missed his court date, a bench warrant was issued (Wall Street Journal). Perhaps the warrant was not flagged properly, however, since nothing happened when he was pulled over again, for speeding. In the government inquiries that followed attack, and in the press, these brushes with the law were “missed opportunities” to thwart the 9/11 plot (Kean and Hamilton, Report 353). Among a certain set of career law enforcement personnel, particularly those active in management and police associations, these missed opportunities were fraught with a sense of personal failure. Yet, in short order, they were to become a source of professional revelation. The scenarios—Trooper Parkins and Al Hazmi, other encounters in other states, the general fact that there had been chance meetings between police officers and the hijackers—were re-imagined in the aftermath of 9/11. Those moments were returned to and reversed, so that multiple potentialities could be seen, beyond or in addition to what had taken place. The deputy director of an intelligence fusion centre told me in an interview, “it is always a local cop who saw something” and he replayed how the incidents of contact had unfolded with the men. These scenarios offered a way to recapture the past. In the uncertainty of every encounter, whether a traffic stop or questioning someone taking photos of a landmark (and potential terrorist target), was also potential. Through a process of re-imagining, police encounters with the public became part of the government’s “national intelligence” strategy. Previously a division had been marked between foreign and domestic intelligence. While the phrase “national intelligence” had long been used, notably in National Intelligence Estimates, after 9/11 it became more significant. The overall director of the US intelligence community became the Director National Intelligence, for instance, and the cohesive term marked the way that increasingly diverse institutional components, types of data and forms of action were evolving to address the collection of data and intelligence production (McConnell). In a series of working groups mobilised by members of major police professional organisations, and funded by the US Department of Justice, career officers and representatives from federal agencies produced detailed recommendations and plans for involving police in the new Information Sharing Environment. Among the plans drawn up during this period was what would eventually come to be the Nationwide Suspicious Activity Reporting Initiative, built principally around the idea of encounters such as the one between Parkins and Al Hazmi. Map 1: Map of pilot sites in the Nationwide Suspicious Activity Reporting Evaluation Environment in 2010 (courtesy of the author; no longer available online). Map 2: Map of participating sites in the Nationwide Suspicious Activity Reporting Initiative, as of 2014. In an interview, a fusion centre director who participated in this planning as well as its implementation, told me that his thought had been, “if we train state and local cops to understand pre-terrorism indicators, if we train them to be more curious, and to question more what they see,” this could feed into “a system where they could actually get that information to somebody where it matters.” In devising the reporting initiative, the working groups counter-actualised the scenarios of those encounters, and the kinds of larger plots to which they were understood to belong, in order to extract a set of concepts: categories of suspicious “activities” or “patterns of behaviour” corresponding to the phases of a terrorism event in the process of becoming (Deleuze, Negotiations). This conceptualisation of terrorism was standardised, so that it could be taught, and applied, in discerning and documenting the incidents comprising an event’s phases. In police officer training, the various suspicious behaviours were called “terrorism precursor activities” and were divided between criminal and non-criminal. “Functional Standards,” developed by the Los Angeles Police Department and then tested by the Department of Homeland Security (DHS), served to code the observed behaviours for sharing (via compatible communication protocols) up the federal hierarchy and also horizontally between states and regions. In the popular parlance of videos made for the public by local police departments and DHS, which would come to populate the internet within a few years, these categories were “signs of terrorism,” more specifically: surveillance, eliciting information, testing security, and so on. Image 3: “The Seven Signs of Terrorism (sometimes eight).” CC BY-SA 4.0 2015 by author, using materials in the public domain. If the problem of 9/11 had been that the men who would become hijackers had gone unnoticed, the basic idea of the Suspicious Activity Reporting Initiative was to create a mechanism through which the eyes and ears of everyone could contribute to their detection. In this vein, “If You See Something, Say Something™” was a campaign that originated with the New York City Metropolitan Transportation Authority, and was then licensed for use to DHS. The tips and leads such campaigns generated, together with the reports from officers on suspicious incidents that might have to do with terrorism, were coordinated in the Information Sharing Environment. Drawing on reports thus generated, the Federal Government would, in theory, communicate timely information on security threats to law enforcement so that they would be better able to discern the incidents to be reported. The cycle aimed to catch events in emergence, in a distinctively anticipatory strategy of counterterrorism (Stalcup). Re-imagination A curious fact emerges from this history, and it is key to understanding how this initiative developed. That is, there was nothing suspicious in the encounters. The soon-to-be terrorists’ licenses were up-to-date, the cars were legal, they were not nervous. Even Mohamed Atta’s warrant would have resulted in nothing more than a fine. It is not self-evident, given these facts, how a governmental technology came to be designed from these scenarios. How––if nothing seemed of immediate concern, if there had been nothing suspicious to discern––did an intelligence strategy come to be assembled around such encounters? Evidently, strident demands were made after the events of 9/11 to know, “what went wrong?” Policies were crafted and implemented according to the answers given: it was too easy to obtain identification, or to enter and stay in the country, or to buy airplane tickets and fly. But the trooper’s question, the reader will recall, was somewhat different. He had said, “It’s difficult sometimes to think back and go: ‘What if you had known something else?’” To ask “what if you had known something else?” is also to ask what else might have been. Janet Roitman shows that identifying a crisis tends to implicate precisely the question of what went wrong. Crisis, and its critique, take up history as a series of right and wrong turns, bad choices made between existing dichotomies (90): liberty-security, security-privacy, ordinary-suspicious. It is to say, what were the possibilities and how could we have selected the correct one? Such questions seek to retrospectively uncover latencies—systemic or structural, human error or a moral lapse (71)—but they ask of those latencies what false understanding of the enemy, of threat, of priorities, allowed a terrible thing to happen. “What if…?” instead turns to the virtuality hidden in history, through which missed opportunities can be re-imagined. Image 4: “The Cholmondeley Sisters and Their Swaddled Babies.” Anonymous, c. 1600-1610 (British School, 17th century); Deleuze and Parnet (150). CC BY-SA 4.0 2015 by author, using materials in the public domain. Gilles Deleuze, speaking with Claire Parnet, says, “memory is not an actual image which forms after the object has been perceived, but a virtual image coexisting with the actual perception of the object” (150). Re-imagined scenarios take up the potential of memory, so that as the trooper’s traffic stop was revisited, it also became a way of imagining what else might have been. As Immanuel Kant, among others, points out, “the productive power of imagination is […] not exactly creative, for it is not capable of producing a sense representation that was never given to our faculty of sense; one can always furnish evidence of the material of its ideas” (61). The “memory” of these encounters provided the material for re-imagining them, and thereby re-virtualising history. This was different than other governmental responses, such as examining past events in order to assess the probable risk of their repetition, or drawing on past events to imagine future scenarios, for use in exercises that identify vulnerabilities and remedy deficiencies (Anderson). Re-imagining scenarios of police-hijacker encounters through the question of “what if?” evoked what Erin Manning calls “a certain array of recognizable elastic points” (39), through which options for other movements were invented. The Suspicious Activity Reporting Initiative’s architects instrumentalised such moments as they designed new governmental entities and programs to anticipate terrorism. For each element of the encounter, an aspect of the initiative was developed: training, functional standards, a way to (hypothetically) get real-time information about threats. Suspicion was identified as a key affect, one which, if cultivated, could offer a way to effectively deal not with binary right or wrong possibilities, but with the potential which lies nestled in uncertainty. The “signs of terrorism” (that is, categories of “terrorism precursor activities”) served to maximise receptivity to encounters. Indeed, it can apparently create an oversensitivity, manifested, for example, in police surveillance of innocent people exercising their right to assemble (Madigan), or the confiscation of photographers’s equipment (Simon). “What went wrong?” and “what if?” were different interrogations of the same pre-9/11 incidents. The questions are of course intimately related. Moments where something went wrong are when one is likely to ask, what else might have been known? Moreover, what else might have been? The answers to each question informed and shaped the other, as re-imagined scenarios became the means of extracting categories of suspicious activities and patterns of behaviour that comprise the phases of an event in becoming. Conclusion The 9/11 Commission, after two years of investigation into the causes of the disastrous day, reported that “the most important failure was one of imagination” (Kean and Hamilton, Summary). The iconic images of 9/11––such as airplanes being flown into symbols of American power––already existed, in guises ranging from fictive thrillers to the infamous FBI field memo sent to headquarters on Arab men learning to fly, but not land. In 1974 there had already been an actual (failed) attempt to steal a plane and kill the president by crashing it into the White House (Kean and Hamilton, Report Ch11 n21). The threats had been imagined, as Pat O’Malley and Philip Bougen put it, but not how to govern them, and because the ways to address those threats had been not imagined, they were discounted as matters for intervention (29). O’Malley and Bougen argue that one effect of 9/11, and the general rise of incalculable insecurities, was to make it necessary for the “merely imaginable” to become governable. Images of threats from the mundane to the extreme had to be conjured, and then imagination applied again, to devise ways to render them amenable to calculation, minimisation or elimination. In the words of the 9/11 Commission, the Government must bureaucratise imagination. There is a sense in which this led to more of the same. Re-imagining the early encounters reinforced expectations for officers to do what they already do, that is, to be on the lookout for suspicious behaviours. Yet, the images of threat brought forth, in their mixing of memory and an elastic “almost,” generated their own momentum and distinctive demands. Existing capacities, such as suspicion, were re-shaped and elaborated into specific forms of security governance. The question of “what if?” and the scenarios of police-hijacker encounter were particularly potent equipment for this re-imagining of history and its re-virtualisation. References Anderson, Ben. “Preemption, Precaution, Preparedness: Anticipatory Action and Future Geographies.” Progress in Human Geography 34.6 (2010): 777-98. Clay, Nolan, and Randy Ellis. “Terrorist Ticketed Last Year on I-40.” NewsOK, 20 Jan. 2002. 25 Nov. 2014 ‹http://newsok.com/article/2779124›. Deleuze, Gilles. Negotiations. New York: Columbia UP, 1995. Deleuze, Gilles, and Claire Parnet. Dialogues II. New York: Columbia UP 2007 [1977]. Federal Bureau of Investigation. “Hijackers Timeline (Redacted) Part 01 of 02.” Working Draft Chronology of Events for Hijackers and Associates. 2003. 18 Apr. 2014 ‹https://vault.fbi.gov/9-11%20Commission%20Report/9-11-chronology-part-01-of-02›. Kant, Immanuel. Anthropology from a Pragmatic Point of View. Trans. Robert B. Louden. Cambridge: Cambridge UP, 2006. Kean, Thomas H., and Lee Hamilton. Executive Summary of the 9/11 Commission Report: Final Report of the National Commission on Terrorist Attacks upon the United States. 25 Oct. 2015 ‹http://www.9-11commission.gov/report/911Report_Exec.htm›. Kean, Thomas H., and Lee Hamilton. The 9/11 Commission Report: Final Report of the National Commission on Terrorist Attacks upon the United States. New York: W.W. Norton, 2004. McConnell, Mike. “Overhauling Intelligence.” Foreign Affairs, July/Aug. 2007. Madigan, Nick. “Spying Uncovered.” Baltimore Sun 18 Jul. 2008. 25 Oct. 2015 ‹http://www.baltimoresun.com/news/maryland/bal-te.md.spy18jul18-story.html›. Manning, Erin. Relationscapes: Movement, Art, Philosophy. Cambridge, MA: MIT P, 2009. O’Malley, P., and P. Bougen. “Imaginable Insecurities: Imagination, Routinisation and the Government of Uncertainty post 9/11.” Imaginary Penalities. Ed. Pat Carlen. Cullompton, UK: Willan, 2008.Roitman, Janet. Anti-Crisis. Durham, NC: Duke UP, 2013. Simon, Stephanie. “Suspicious Encounters: Ordinary Preemption and the Securitization of Photography.” Security Dialogue 43.2 (2012): 157-73. Stalcup, Meg. “Policing Uncertainty: On Suspicious Activity Reporting.” Modes of Uncertainty: Anthropological Cases. Eds. Limor Saminian-Darash and Paul Rabinow. Chicago: U of Chicago P, 2015. 69-87. Wall Street Journal. “A Careful Sequence of Mundane Dealings Sows a Day of Bloody Terror for Hijackers.” 16 Oct. 2001.

For once I want to be the car crash, Not always just the traffic jam. Hit me hard enough to wake me, And lead me wild to your dark roads. (Snow Patrol: “Headlights on Dark Roads”, Eyes Open, 2006) I didn’t know about the online dating site rsvp.com.au until a woman who I was dating at the time showed me her online profile. Apparently ‘everyone does rsvp’. Well, ‘everyone’ except me. (Before things ended I never did ask her why she listed herself as ‘single’ on her profile…) Forming relationships in our era of post-institutional modes of sociality is problematic. Some probably find such ‘romantically’ orientated ‘meet up’ sites to be a more efficient option for sampling what is available. Perhaps others want some loving on the side. In some ways these sites transform romance into the online equivalent of the logistics dock at your local shopping centre. ‘Just-in-time’ relationships rely less on social support structures of traditional institutions such as the family, workplace, and so on, including ‘love’ itself, and more on a hit and miss style of dating, organised like a series of car crashes and perhaps even commodified through an eBay-style online catalogue (see Crawford 83-88). Instead of image-commodities there are image-people and the spectacle of post-romance romance as a debauched demolition derby. Is romance still possible if it is no longer the naïve and fatalistic realisation of complementary souls? I watched Paul Thomas Anderson’s third film Punch-Drunk Love with the above rsvp.com.au woman. She interpreted it in a completely different manner to me. I shall argue (as I did with her) that the film captures some sense of romance in a post-romance world. The film was billed as a comedy/romance or comedy/drama, but I did not laugh either with or at the film. The story covers the trials of two people ‘falling in love’. Lena Leonard (Emma Watson) orchestrates an encounter with Barry Egan (Adam Sandler) after seeing a picture of him with his seven sisters. The trajectory of the romance is defined less by the meeting of two people, than the violence of contingency and of the world arrayed by the event of love. Contingency is central to complexity theory. Contingency is not pure chance, rather it exists as part of the processual material time of the event that defines events or a series of events as problematic (Deleuze, The Logic of Sense 52-53). To problematise events and recognise the contingencies they inculcate is to refuse the tendency to colonise the future through actuarial practices, such as ‘risk management’ and insurance or the probabilistic ‘Perfect Match’ success of internet dating sites (mirroring ‘Dexter’ from the 1980s dating television game show). Therefore, through Punch-Drunk Love I shall problematise the event of love so as to resuscitate the contingencies of post-romance romance. It is not surprising Punch-Drunk Love opens with a car crash for the film takes romance on a veritable post-Crash detour. Crash – novel and film – serves as an exploration of surfaces and desire in a world at the intersection of the accident. Jean Baudrillard, in his infamous essay on Crash (novel), dwells on the repositioning of the accident: [It] is no longer at the margin, it is at the heart. It is no longer the exception to a triumphal rationality, it has become the Rule, it has devoured the Rule. … Everything is reversed. It is the Accident that gives form to life, it is the Accident, the insane, that is the sex of life. (113) After the SUV rolls over in Punch-Drunk Love’s opening scene, a taxi van pauses long enough for an occupant to drop off a harmonium. A harmonium is a cross between an organ and a piano, but much smaller than both. It is a harmony machine. It breathes and wheezes to gather potentiality consonant sound waves of heterogeneous frequencies to produce a unique musicality of multiplicative resonance. No reason is given for the harmonium in the workings of the film’s plot. Another accident without any explanation, like the SUV crash, but this time it is an accidental harmony-machine. The SUV accident is a disorganising eruption of excess force, while the accidental harmony-machine is a synthesising organisation of force. One produces abolition, while the other produces a multiplicative affirmation. These are two tendencies that follow two different relations to the heterogeneous materialism of contingency. Punch-Drunk Love captures the contingency at the heart of post-romance romance. Instead of the layers of expectation habituated into institutional engagements of two subjects meeting, there is the accident of the event of love within which various parties are arrayed with various affects and desires. I shall follow Alain Badiou’s definition of the event of love, but only to the point where I shall shift the perspective from love to romance. Badiou defines love by initially offering a series of negative definitions. Firstly, love is not a fusional concept, the ‘two’ that is ‘one’. That is because, as Badiou writes, “an ecstatic One can only be supposed beyond the Two as a suppression of the multiple” (“What Is Love?” 38). Secondly, nor is love the “prostration of the Same on the alter of the Other.” Badiou argues that it is not an experience of the Other, but an “experience of the world [i.e. multiple], or of the situation, under the post-evental condition that there were Two” (“What Is Love?” 39). Lastly, the rejection of the ‘superstructural’ or illusory conception of love, that is, to the base of desire and sexual jealously (Badiou, “What Is Love?” 39). For Badiou love is the production of truth. The truth is that the Two, and not only the One, are at work in the situation. However, from the perspective of romance, there is no post-evental truth procedure for love as such. In Deleuze’s terminology, from the perspective of post-romance the Two serves an important role as the ‘quasi-cause’ of love (The Logic of Sense 33), or for Badiou it is the “noemenal possibility [virtualite]” (“What Is Love?” 51). The event of the Two, and, therefore, of love, is immanent to itself. However, this does not capture the romantic functioning of love swept up in the quasi-cause of the Two. Romance is the differential repetition of the event of love to-come and thus the repetition of the intrinsic irreducible wonder at the heart of the event. The wonder at love’s heart is the excess of potentiality, the excitement, the multiplicity, the stultifying surprise. To resuscitate the functioning of love is to disagree with Badiou’s axiom that there is an absolute disjunction between the (nominalist) Two. The Two do actually share a common dimension and that is the radical contingency at the heart of love. Love is not as a teleological destiny of the eternal quasi-cause, but the fantastic impossibility of its contingent evental site. From Badiou’s line of argument, romance is precisely the passage of this “aleatory enquiry” (“What is Love?” 45), of “the world from the point of view of the Two, and not an enquiry of each term of the Two about the other” (49). Romance is the insinuation of desire into this dynamic of enquiry. Therefore, the functioning of romance is to produce a virtual architecture of wonder hewn from seeming impossibility of contingency. It is not the contingency in itself that is impossible (the ‘chaosmos’ is a manifold of wonderless-contingency), but that contingency might be repeated as part of a material practice that produces love as an effect of differentiating wonder. Or, again, not that the encounter of love has happened, but that precisely it might happen again and again. Romance is the material and embodied practice of producing wonder. The materiality of romance needs to be properly outlined and to do this I turn to another of Badiou’s texts and the film itself. To explicate the materialism of romance is to begin outlining the problematic of romance where the material force of Lena and Barry’s harmony resonates in the virtuosic co-production of new potentialities. The practice of romance is evidenced in the scene where Lena and Barry are in Hawaii and Lena is speaking to Barry’s sister while Barry is watching her. A sense of wonder is produced not in the other person but of the world as multiplicity produced free from the burden of Barry’s sister, hence altering the material conditions of the differential repetition of contingency. The materialism in effect here is, to borrow from Michel Foucault, an ‘incorporeal materialism’ (169), and pertains to the virtual evental dimension of love. In his Handbook of Inaesthetics, Badiou sets up dance and theatre as metaphors for thought. “The essence of dance,” writes Badiou, “is virtual, rather than actual movement” (Handbook of Inaesthetics 61), while theatre is an “assemblage” (72) which in part is “the circulation of desire between the sexes” (71). If romance is the deliberate care for the event of love and its (im)possible contingency, then the dance of love requires the theatre of romance. To include music with dance is to malign Badiou’s conception of dance by polluting it with some elements of what he calls ‘theatre’. To return to the Hawaii scene, Barry is arrayed as an example of what Badiou calls the ‘public’ of theatre because he is watching Lena lie to his sister about his whereabouts, and therefore completes the ‘idea’ of theatre-romance as a constituent element (Badiou, Handbook of Inaesthetics 74). There is an incorporeal (virtual) movement here of pure love in the theatre of romance that repotentialises the conditions of the event of love by producing a repeated and yet different contingency of the world. Wonder triggered by a lie manifest of a truth to-come. According to Badiou, the history of dance is “governed by the perpetual renewal of the relation between vertigo and exactitude. What will remain virtual, what will be actualized, and precisely how is the restraint going to free the infinite?” (Handbook of Inaesthetics 70). Importantly, Badiou suggests that theatrical production “is often the reasoned trial of chances” (Handbook of Inaesthetics 74). Another way to think the materiality of romance is as the event of love, but without Badiou’s necessary declaration of love (“What Is Love?” 45). Even though the ‘truth’ of the Two acts as quasi-cause, love as such remains a pure (‘incorporeal’) Virtuality. As a process, there is no “absolute disappearance or eclipse” that belongs to the love-encounter (“What Is Love?” 45), thus instead producing a rhythmic or, better, melodic heterogeneous tension between the love-dance and romance-theatre. The rhythm-melody of the virtual-actual cascade is distributed around aleatory contingencies as the event of love is differentially repeated and is therefore continually repotentialised and exhausted at the same time. A careful or graceful balance needs to be found between potentiality and exhaustion. The film contains many examples of this (re)potentialising tension, including when Lena achieves the wonder of the ‘encounter’ by orchestrating a meeting. Similarly, Barry feigns a ‘business trip’ to Hawaii to meet up with Lena. This is proceeded by the increased urgency of Barry’s manipulation of the frequent flyer miles reward to meet with up with Lena. The tension is affective – both anxious and exciting – and belongs to the lived duration of contingency. In the same way as an actual material dance floor (or ‘theatre’ here) is repeated across multiple incorporeal dimensions of music’s virtuality through the repotentialisation of the dancer’s body, the multiple dimensions of love are repeated across the virtuality of the lovers’ actions through the repotentialisation of the conditions of the event of love. Punch-Drunk Love frames this problematic of romance by way of a second movement that follows the trajectory of the main character Barry. Barry is a depressive with an affect regulation problem. He flies into a rage whenever a childhood incident is mentioned and becomes anxious or ‘scared’ (as one sister described him) when in proximity to Lena. He tries to escape from the oppressive intimacy of his family. He plays with ‘identity’ in a childlike manner by dressing up as a businessman and wearing the blue suit. His small business is organised around selling plungers used to unblock toilets to produce flow. Indeed, Barry is defined by the blockages and flows of desire. His seven-sister over-Oedipalised familial unit continually operates as an apparatus of capture, a phone-sex pervert scam seeks to overcode desire in libidinal economy that becomes exploited in circuits of axiomatised shame (like an online dating site?), and a consumer rewards program that offers the dream of a frequent-flyer million-miles (line of) flight out of it all. ‘Oedipal’ in the expanded sense Deleuze and Guattari give the term as a “displaced or internalised limit where desire lets itself be caught. The Oedipal triangle is the personal and private territoriality that corresponds to all of capitalism’s efforts at social reterritorialisation” (266). Barry says he wants to ‘diversify’ his business, which is not the same thing as ‘expanding’ or developing an already established commercial interest. He does not have a clear idea of what domain or type of business he wants to enter into when diversifying. When he speaks to business contacts or service personnel on the phone he attempts to connect with them on a level of intimacy that is uncomfortably inappropriate for impersonal phone conversations. The inappropriate intimacy comes back to haunt him, of course, when a low-level crook attempts to extort money from him after Barry calls a phone sex line. The romance between Lena and Barry develops through a series of accident-contingencies that to a certain extent ‘unblocks’ Barry and allows him to connect with Lena (who also changes). Apparent contingencies that are not actually contingencies need to be explained as such (‘dropping car off’, ‘beat up bathrooms’, ‘no actual business in Hawaii’, ‘phone sex line’, etc.). Upon their first proper conversation a forklift in Barry’s business crashes into boxes. Barry calls the phone sex line randomly and this leads to the severe car crash towards the end of the film. The interference of Barry’s sisters occurs in an apparently random unexpected manner – either directly or indirectly through the retelling of the ‘gayboy’ story. Lastly, the climatic meeting in Hawaii where the two soon-to-be-lovers are framed by silhouette, their bodies meet not in an embrace but a collision. They emerge as if emitted from the throngs of the passing crowd. Barry has his hand extended as if they were going to shake and there is an audible grunt when their bodies collide in an embrace. To love is to endure the violence of a creative temporality, such as the production of harmony from heterogeneity. As Badiou argues, love cannot be a fusional relation between the two to make the one, nor can it be the relation of the Same to the Other, this is because the differential repetition of the conditions of love through the material practice of romance already effaces such distinctions. This is the crux of the matter: The maximum violence in the plot of Punch-Drunk Love is not born by Lena, even though she ends up in hospital, but by Barry. (Is this merely a masculinist reading of traditional male on male violence? Maybe, and perhaps why rsvp.com.au woman read it different to me.) What I am trying to get at is the positive or creative violence of the two movements within the plot – of the romance and of Barry’s depressive social incompetence – intersect in such a way to force Barry to renew himself as himself. Barry’s explosive fury belongs to the paradox of trying to ‘mind his own business’ while at the same time ‘diversifying’. The moments of violence directed against the world and the ‘glass enclosures’ of his subjectivity are transversal actualisations of the violence of love (on function of ‘glass’ in the film see King). (This raises the question, perhaps irrelevant, regarding the scale of Badiou’s conception of truth-events. After Foucault and Deleuze, why isn’t ‘life’ itself a ‘truth’ event (for Badiou’s position see Briefings on Existence 66-68)? For example, are not the singularities of Barry’s life also the singularities of the event of love? Is the post-evental ‘decision’ supposed to always axiomatically subtract the singular truth-supplement from the stream of singularities of life? Why…?) The violence of love is given literal expression in the film in the ‘pillow talk’ dialogue between Barry and Lena: Barry: I’m sorry, I forgot to shave. Lena: Your face is so adorable. Your skin and your cheek… I want to bite it. I want to bite on your cheek and chew on it, you’re so fucking cute. Barry: I’m looking at your face and I just wanna smash it. I just wanna fucking smash it with a sledgehammer and squeeze you, you’re so pretty… Lena: I wanna chew your face off and scoop out your eyes. I wanna eat them and chew them and suck on them… Barry: [nodding] Ok…yes, that’s funny… Lena: Yeah… Barry: [still nodding] This’s nice. What dismayed or perhaps intrigued Baudrillard about Crash was its mixing of bodies and technologies in a kind of violent eroticism where “everything becomes a hole to offer itself to the discharge reflex” (112). On the surface this exchange between Barry and Lena is apparently an example of such violent eroticism. For Baudrillard the accident is a product of the violence of technology in the logistics of bodies and signs which intervene in relations in such a way to render perversity impossible (as a threshold structuration of the Symbolic) because ‘everything’ becomes perverse. However, writer and director of Punch-Drunk Love, Paul Anderson, produces a sense of the wondrous (‘Punch-Drunk’) violence that is at the heart of love. This is not because of the actual violence of individual characters; in the film this only serves as a canvas of action to illustrate the intrinsic violence of contingency. Lena and Barry’s ‘pillow talk’ not so much as a dance but a case of the necessary theatre capturing the violence and restraint of love’s virtual dance. ‘Violence’ (in the sense it is used above) also describes the harmonic marshalling of the heterogeneous materiality of sound affected by the harmonium. The ‘violence’ of the harmonium is decisively expressed through the coalescence of the diegetic and nondiegetic soundtracks at the end of the film when Barry plays the harmonium concurrently with Jon Brion’s score for the film. King notes, the “diegetic and nondiegetic music playing together is a moment of cinematic harmony; Barry, Lena, and the harmonium are now in sync” (par. 19). The notes of music connect different diegetic and nondiegetic series which pivot around new possibilities. As Deleuze writes about the notes played at a concert, they are “pure Virtualities that are actualized in the origins [of playing], but also pure Possibilities that are attained in vibrations or flux [of sound]” (The Fold 91). Following Deleuze further (The Fold 146-157), the horizontal melodic movement of romance forms a diagonal or transversal line with the differentially repeated ‘harmonic’ higher unity of love. The unity is literally ‘higher’ to the extent it escapes the diegetic confines of the film itself. For Deleuze “harmonic unity is not that of infinity, but that which allows the existent to be thought of as deriving from infinity” (The Fold 147, ital. added). While Barry is playing the harmonium in this scene Lena announces, “So here we go.” These are the final words of the film. In Badiou’s philosophy this is a declaration of the truth of love. Like the ‘higher’ non/diegetic harmony of the harmonium, the truth of love “composes, compounds itself to infinity. It is thus never presented integrally. All knowledge [of romance] relative to this truth [of the Two, as quasi-cause] thus disposes itself as an anticipation” (“What is Love?” 49). Romance is therefore lived as a vertiginous state of anticipation of love’s harmony. The materiality of romance does not simply consist of two people coming together and falling in love. The ‘fall’ functions as a fatalistic myth used to inscribe bodies within the eschatological libidinal economies of ‘romantic comedies’. To anneal Baudrillard’s lament, perversity obviously still has a positive Symbolic function on the internet, especially online dating sites where anticipation can be modulated through the probabilistic manipulation of signs. In post-romance, the ‘encounter’ of love necessarily remains, but it is the contingency of this encounter that matters. The main characters in Punch-Drunk Love are continually arrayed through the contingencies of love. I have linked this to Badiou’s notion of the event of love, but have focused on what I have called the materiality of romance. The materiality of romance requires more than a ‘fall’ induced by a probabilistic encounter, and yet it is not the declaration of a truth. The post-evental truth procedure of love is impossible in post-romance romance because there is no ‘after’ or ‘supplement’ to an event of love; there is only the continual rhythm of romance and anticipation of the impossible. It is not a coincidence that the Snow Patrol lyrics that serve above as an epigraph resonate with Deleuze’s comment that a change in the situation of Leibnizian monads has occurred “between the former model, the closed chapel with imperceptible openings… [to] the new model invoked by Tony Smith [of] the sealed car speeding down the dark highway” (The Fold 157). Post-Crash post-romance romance unfolds like the driving-monad in an aleatory pursuit of accidents. That is, to care for the event of love is not to announce the truth of the Two, but to pursue the differential repetition of the conditions of love’s (im)possible contingency. This exquisite and beautiful care is required for the contingency of love to be maintained. Hence, the post-romance problematic of romance thus posited as the material practice of repeating the wonder at the heart of love. References Badiou, Alain. Briefings on Existence: A Short Treatise on Transitory Ontology. Trans. Norman Madrasz. Albany, New York: State U of New York P, 2006. ———. Handbook of Inaesthetics. Trans. Alberto Toscano. Stanford, Calif.: Stanford UP, 2005. ———. “What Is Love?” Umbr(a) 1 (1996): 37-53. Baudrillard, Jean. Simulacra and Simulation. Ann Arbor: U of Michigan P, 1994. Crawford, Kate. Adult Themes: Rewriting the Rules of Adulthood. Sydney: Macmillan, 2006. Deleuze, Gilles. The Fold: Leibniz and the Baroque. Minneapolis: U of Minnesota P, 1993. ———. The Logic of Sense. Trans. Mark Laster and Charles Stivale. European Perspectives. Ed. Constantin V. Boundas. New York: Columbia UP, 1990. Deleuze, Gilles, and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: U of Minnesota P, 1983. Foucault, Michel. “Theatricum Philosophicum.” Language, Counter-Memory, Practice: Selected Essays and Interviews. Ed. D. F. Bouchard. New York: Cornell UP, 1977. 165-96. King, Cubie. “Punch Drunk Love: The Budding of an Auteur.” Senses of Cinema 35 (2005). Citation reference for this article MLA Style Fuller, Glen. "Punch-Drunk Love: A Post-Romance Romance." M/C Journal 10.3 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0706/03-fuller.php>. APA Style Fuller, G. (Jun. 2007) "Punch-Drunk Love: A Post-Romance Romance," M/C Journal, 10(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0706/03-fuller.php>.