Abstract This article explores the abstract space–time concept of ma through analysis and interpretation of Austrian artist Karl-Heinz Klopf’s film Tower House (2013). The film is based on an extraordinary house built in Tokyo in 1996 and designed by architect Takamitsu Azuma. Moving between film theory, Eastern mysticism, cognitive psychology, narrative theory, and the phenomenology and ontology of space and time, the main hypothesis is that Klopf uses special film techniques that demonstrate, augment and construct ma. It is argued that this process can also be understood through Gilles Deleuze and Félix Guattari’s philosophy as a space–time concept in a continuous process of becoming. How does Klopf augment a philosophy of living and logic of architectural space in the filmmaking methodology of Tower House based on the Eastern concept of ma? How can we further understand this using Deleuze and Guattari’s understanding of becoming? Which new frameworks bring the annexation of Deleuzian and Guattarian philosophy to Klopf’s artistic visualization and interpretation of architecture and philosophy of living in Tower House? How do these help us understand a space of tolerance as an ontological concept?

中文翻译：

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马作为成为的时空概念：Karl-Heinz Klopf 的塔楼 (2013)

摘要 本文通过对奥地利艺术家Karl-Heinz Klopf 的电影Tower House (2013) 的分析和解读，探讨ma 的抽象时空概念。这部电影以 1996 年在东京建造的非凡房屋为基础，由建筑师 Takamitsu Azuma 设计。在电影理论、东方神秘主义、认知心理学、叙事理论以及空间和时间的现象学和本体论之间移动，主要假设是克洛普夫使用特殊的电影技术来展示、增强和构建电影。有人认为，这个过程也可以通过吉尔·德勒兹和费利克斯·加塔利的哲学理解为一个连续的生成过程中的时空概念。克洛普夫如何以东方“ma”为基础，在Tower House的电影制作方法论中增加生活哲学和建筑空间逻辑？我们如何使用德勒兹和加塔里对生成的理解来进一步理解这一点？哪些新框架将德勒兹和加塔利哲学的吞并带入克洛普夫对塔楼建筑和生活哲学的艺术形象化和诠释？这些如何帮助我们将宽容空间理解为本体论概念？