Reading the table. Columns are Deamer's images. The movement-image runs from perception (zeroness) through affect (Firstness), action (Secondness) and thought (Thirdness). The three-digit code under each column is Deamer's Peircean combination (Fig. I.15): 111 affection, 211 impulse, 221 small-form action, 222 large-form action, 311 attraction, 321 inversion, 322 discourse, 331 dream, 332 recollection, 333 relation. The time-image follows Fig. I.20: 0 opsigns and sonsigns, 1 hyalosigns, 2 chronosigns, 3 noosigns, ∞ lectosigns.
Rows. Each image is composed of two signs of composition and generated by one sign of genesis (bottom row). The time-image opens with its zeroness, split here into two elements: the opsign (a pure optical situation) and the sonsign (a pure sound situation). Deamer treats them as one sign; they are separated here because they differ in modality and a shot can be one without the other. The lectosign stands alone as the limit that closes the regime. The one-line gloss on each element is the caption of Deamer's own figure for that sign (Figs. II.01–II.44).
The examples. The archive is public-domain educational, industrial, amateur, newsreel and early silent film, searched shot by shot with visual queries derived from the scenes Deamer analyses. None of it is the canon Deleuze cites. Each still is the matched frame of a single shot; hover or tap to play only that shot. Deleuze reminds us a film "is never made up of a single kind of image" (C1: 70): these are shots where the sign is dominant, not pure specimens.
Difference and confidence. Hover an element to light up the three signs it is most often confused with. Each sheet opens with the test that decides between them. Each shot carries a reading: a solid bar for what the shot alone can show (capped by the sign's single-shot ceiling, ⌈ on the tile), a hatched bar for how far the reading goes if the surrounding sequence cooperates, and the rival sign's share in its own colour. The number on each tile is the mean reading across its shots. The readings are an editor's judgements, not measurements.
Honesty. Some signs are relations between shots (mark and demark, destiny, peaks of the present), so a single shot can only be one pole of the relation. The note under each still says what it is doing.