By this time the design of the filming apparatus has been developed to its (as yet) final version. Filming is now undertaken with two cameras simultaneously, following the failure of cameras in the take-down process on several occasions. This arrangement attempts to break away from the largely symmetrical and balanced previous versions, spreading the nine 100mm acrylic cubes across the picture plane. A density of line, light and shadow is achieved in the centre of the arrangement, while edges are allowed to pull away.

The strategy of taking down the arrangement was different to the set-up – all of the solid acrylic blocks were removed first, leaving the nine cubes casing their wireframe shadows across the picture plane. Each cube was individually removed, to the final, and original one bottom centre. This revealed an elegance to the arrangement with purely large cubes, without the density of visual information once the acrylic blocks were added. It also led to a series of still images that contain much of Necker’s original perceptual ambiguity. This is the last experiment in this series, and suggests a direction that goes back to more simple configurations, and attempt to further explore the perceptual ambiguity in reading moving images, as well as still ones.