Mark,
I plan to fill the winter break with the movement and time texts
( what a delicious way to fragment the millenium-and de-sieve Alice too!- we
videoed the process of making Shiv-and i suspect that these texts are going
to be the most effective means of analysing the layers of habit we are
destratifying/resedimenting) Do you have any suggestions re non frothy
secondary literature? i'm also interested in finding uptakes of Bergson in
early modern literature, art movements, german theatre traditions, etc. I
would really appreciate any pointers.
Best
Ruth.C
>>> Mark Crosby <Crosby_M@xxxxxxxxxxxxxx> 12/08 9:02 pm >>>
In between the affection-image - "the
Any-Space-Whatevers / Affects pair" and the
action-image - "the Determine Milieux / Modes of
Behavior pair", says Deleuze, "we come across a
strange pair: Originary Worlds /Elementary Impulses.
An originary world is not an any-space-whatever ...
because it only appears in the depths of a determined
milieux ... An impulse is not an affect, because it is
an impression in the strongest sense and not an
expression... the action-image remains powerless to
represent it, and the affection-image powerless to
make it felt" (_Cinema 1_ ch.8 p.123).
The originary world, Deleuze adds, "is, first of all,
Empedocles' world, made up of outlines and fragments".
(See _Logic of Sense_, "18th Series", where "we
encounter, on the one hand, the body of hatred, the
parcelled-out body sieve ... but on the other hand, we
encounter the glorious body without organs" 129).
The domain of the impulse-image, says Deleuze (back in
_Cinema 1_), "is naturalism. It is not opposed to
realism, but on the contrary accentuates its features
by extending them in an idiosyncratic surrealism...
The originary world has no existence independent of
the geographical and historical milieu which serves as
its medium... This is why IMPULSES are *extracted*
from the real modes of behaviour current in a
determinate milieu ... And the FRAGMENTS are *torn
from* objects which have effectively been formed in
the milieu" (124).
Before going on to describe naturalism in the cinema,
Deleuze concludes: "the naturalist image, the
impulse-image, has in fact two signs: symptoms, and
idols or fetishes. SYMPTOMS are the presence of
impulses in the derived world, and IDOLS and FETISHES,
the representation of the fragments... In short,
naturalism refers simultaneously to four co-ordinates:
originary world / derived milieu; impulses / modes of
behaviour" (125).
The recent VERY popular amateur film _The Blair Witch
Project_ is a superb exhibition of this naturalism of
the impulse-image that Deleuze evokes: inspired team
investigating unsolved mystery disappears into forest
of frightened fragments.. Mark
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