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Gilles Deleuze and the Third Schema of Perception: time, sense, idea trapped in crystals

Gilles Deleuze and the Third Schema of Perception: time, sense, idea trapped in crystals

From Bergson's coexistence of the past with the present Deleuze produces a preexistent past. Or, cinema produces it for him, in that it lets him see the past stand out before the present. The question is, was it, so to speak, already there? Was it there for Deleuze

"The crisis continues..."

"The crisis continues..."

Title from the ACKNOWLEDGEMENTS, No Ghosts, Max Lury, Peninsula Press, London, 2026, p. 343 (all subsequent references to this edition) Going from the end of the second of two posts dealing with crystal images, the first about their weirdness, the second about them as an effect of cinematic perception, both

IT IS WHAT IT IS: recognition in cinema and AI is automated

IT IS WHAT IT IS: recognition in cinema and AI is automated

We watch the recognition. We see the virtual image recognise itself in the actual image. Why didn't this happen in painting? or in photography? It does to a larger extent in photography, because of the instant (which becomes something of a fetish in photography). The instant has temporal

The Weirdness of the Crystal Image in Cinema 2

The Weirdness of the Crystal Image in Cinema 2

Cinema 2: The Time-Image, Gilles Deleuze, is available online, in translation by Hugh Tomlinson and Robert Galata, University of Minnesota Press, 1989, courtesy of Monoskop; and in the original French, Cinéma: L'Image-temps, Les Éditions de Minuit, 1985, courtesy of Monoskop. The English edition will principally be

Cinema Signifies a Change in the Fundamental Structure of Reality

Cinema Signifies a Change in the Fundamental Structure of Reality

Framing note The following article advances a post-cinematic theory of perception. It draws from Bergson and Deleuze, and from the associated milieux, in biology, technics and metaphysics respectively, of Raymond Ruyer, Gilbert Simondon and Spinoza, to provide its conceptual framework. The article assumes no specialist knowledge. Rather than critical,

reading Bergson: after the advent of cinema, series 1

reading Bergson: after the advent of cinema, series 1

I present the sections below, + or - one or two, as an independent series because, in completing a trajectory of thought, they seem to complete themselves. Each was written, although in succession, mostly represented by the numerial series from ⓪–⑩, in independent response to a problem, not necessarily philosophical, I had reading

the painter of mental scenery

the painter of mental scenery

The title comes from Bergson's Matter and Memory. (Translation, N.M. Paul and W.S. Palmer for Zone Books, p. 170; the online searchable copy p. 69 (yes, they pack a lot in).) The title recalls Baudelaire's essay "The Painter of Modern Life." (see