A hill of salt in the Belfast docklands shimmers like an iceberg at sea. A laminated photograph of Sergei Eisenstein drifts in front of a camera as it moves amongst the streets of Mexico City. A grey mist hovers across Stockholm, obscuring the city behind it. These three images are from a sequence of essay films directed by Mark Cousins. In this paper, I discuss the work of Cousins in terms of its floating aesthetics and mobile methodologies. Throughout his films, Cousins's camera drifts through urban spaces, tracing the images and sounds of cityscapes that typically escape us. The films are attentive to the colours infused and refracted through their urban environments, prompting an understanding of cities as studies in fleeting colour, light and luminosity. I engage with Japanese aesthetic theories in order to draw out resonances between the historical art of urbanising Japan and the city scenes of Cousins's films. This paper offers a reflection on the capacity of Cousins's films to evoke an understanding of cities as lively, sensuous and evanescent harbours of a floating world.

贝尔法斯特港区的盐山像海上的冰山一样闪闪发光。谢尔盖·爱森斯坦（Sergei Eisenstein）的层压照片在相机在墨西哥城的街道间移​​动时，飘在镜头前。灰色的雾气笼罩着斯德哥尔摩，掩盖了它后面的城市。这三张图片来自马克·库辛斯（Mark Cousins）执导的一系列短片。在本文中，我将根据表兄弟的浮动美学和移动方法来讨论表兄弟的工作。在他的电影中，考辛斯的相机在城市空间中漂流，追踪通常使我们逃离的城市景观的图像和声音。这些影片注重通过城市环境注入和折射的色彩，促使人们对城市进行短暂的色彩，光线和亮度研究。我从事日本美学理论的研究，以期将日本城市化的历史艺术与表亲电影的城市景象之间产生共鸣。本文反映了考辛斯的电影唤起人们对城市的理解，这些城市是一个漂浮世界的生动，感性和e逝的港口。