Archive for the 'memoire/trou noir' Category

08
Juin
09

carnet de tournage

FOL_website

FACS OF LIFE  (a film by Silvia Maglioni & Graeme Thomson), FR/IT/UK 2009, HDV, 116′

Composed of eight interlinked plateaus, Facs of Life is a film occupying a liminal territory between documentary, fiction, essay and video art, which attempts to map molecular trajectories of life and thought beginning from a series of encounters: with video footage of Deleuze’s courses at Vincennes (1975-76), with several of the students who attended the seminar and who appear in these images, with the woods of Vincennes where the university buildings once stood, with students of the new university at St Denis, and inevitably with the phantoms of revolution, both cinematic and political, that continue to haunt collective desire.
The eight plateaus each fall under a key concept-word or refrain that delineates the territory of each student’s relationship to Deleuze’s thought (their angle of approach) and the nature of the filmmakers’ encounter with them. The plateaus, while sketching a narrative of the film’s making, are designed to fold and unfold upon each other in a series of non-linear, multiple concatenations and assemblages.

FACS OF LIFE TRAILER : VIEW >

DOWNLOAD (VOD) Facs of Life at DOCALLIANCE FILMS

FOL_frames

WORLD PREMIERE / OFFICIAL SELECTION INTERNATIONAL COMPETITION FID-Marseille 2009

CONTACT : lesfacsoflife@gmail.com

06
Fév
09

I went to the woods… (plan fixe/steadicam)

bois-still

« I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. »

Thoreau, WALDEN

24
Jan
09

I am this I am that

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mrs-dalloway1

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17
Jan
09

le temps déchiré

le-temps

18
Déc
08

l’aube de la frontière

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comtesse2

comtesse3

« The sun had not yet risen. The sea was indistinguishable from the sky, except that the sea was slightly creased as if a cloth had wrinkles in it. Gradually as the sky whitened a dark line lay on the horizon dividing the sea from the sky and the grey cloth became barred with thick strokes moving, one after another, beneath the surface, following each other, pursuing each other, perpetually. »

(Virginia Woolf, The Waves)

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04
Déc
08

keio line (hypothesis 14)

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05
Nov
08

rien de bon passe par le souvenir

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« It’s strange because our method, or the one you accept or pretend to accept – me too – this rhizome-method might have as its formula : I hate memories.  Nothing good can come of memories. Memories are a knot of arborescence. » (G.D.)

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26
Oct
08

de quoi avons-nous besoin?

UFCLA

D’UN FILM COMME LES AUTRES…

UFCLA2

UFCLA3

23
Sep
08

l’épuissance (hypothesis 11)

« Blanks for when words gone. When nohow on. Then all seen as only then. Undimmed. All undimmed that words dim. All so seen unsaid. »

(Samuel Beckett, Worstward Ho)

19
Sep
08

lignes d’erre (hypothesis 10)

14
Sep
08

to go on at varying speeds (hypothesis 9)

eventually everything will be happening at once nothing
behind a screen unless a screen happens to be in front it will
increasingly be a thump instead of a bang the thing
to do is to go on at varying speeds…

(john cage)

REFILMING PHILOSOPHY:

slow-motion acceleration reflecting stillness of passage turning towards away in the same movement

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13
Sep
08

digital development (ou révélation digitale)

18
Août
08

raptus of capture

11
Août
08

haptique/ trop proche

 » C’est le Lisse qui nous paraît à la fois l’objet d’une vision rapprochée par excellence et l’élément d’un espace haptique (qui peut être visuel, auditif autant que tactile). Au contraire, le Strié renverrait à une vision plus lointaine, et à un espace plus optique – même si l’œil à son tour n’est pas le seul organe à avoir cette capacité. Et encore, toujours, corriger par un coefficient de transformation où les passages entre strié et lisse sont à la fois nécessaires et incertains, d’autant plus bouleversants. C’est la loi du tableau d’être fait de près, bien qu’il soit vu de loin, relativement. On peut se reculer de la chose, mais ce n’est pas un bon peintre, celui qui se recule du tableau qu’il est en train de faire. Et même la « chose » : Cezanne parlait de la nécessité de ne plus voir le champ de blé, d’en être trop proche, se perdre, sans repère, en espace lisse. […] L’espace lisse, haptique et de vision rapprochée, à un premier aspect : c’est la variation continue de ses orientations, de ses repères et de ses raccordements ; il opère de proche en proche. Ainsi le désert, la steppe, la glace ou la mer, espace local de pure connexion.  »

(Gilles Deleuze & Félix Guattari, Mille Plateaux)

Paris, August 2008

After repeated viewings of a dangerously perishable VHS recording of the lessons of Deleuze on a very old TV monitor found in the trash, we had began taking a series of digital pictures of the screen with the idea of using them as a kind of “surveillance tool” to identify and locate some of the former students who attended Deleuze’s courses. In the absence of names, we thought we could use faces and show them around. The quality of the videos, made by a collective of cinema students led by Marielle Burkhalter with the aim of filming philosophy and the creation of concepts (using one of the very first portable video-cameras, the Sony 3420) verges at times on a complete decomposition of the image which is not simply due to the effect of time but is inscribed into the very materials at the students’ disposal and their non-authorial, non-specialist way of filming. This supposed deficiency in technique is one of the reasons the videos were never widely circulated nor even properly edited and why archivists and technicians offered the material were uninterested in preserving it and unceremoniously consigned it to the dustbin. Given these circumstances, it is no small miracle that roughly half of the tapes survived.

So now we find ourselves not only freezing these images, malgré tout, but increasingly drawn towards their mysterious, fragile skin as though to a fetish ‘abject’ hovering on the bounds of formlessness, zooming-in, blowing up, capturing not only faces and figures but grey areas, interstitial zones of indiscernibility where the black and white of the image inclined to a continuum of greys among whose folds were bluish shades pertaining to a kind of neutral last-person plural, a spectrum of ghost colours inhabiting a beyond both colour and black and white.

We might say that this colour stands as an index of the peculiar status of these images: rushes that are already in some vital sense cinema yet in no hurry to become a film, gifted with an infinite patience, a radical passivity born from history’s turning away. The colour of limbo, but a limbo that retains a certain dynamism, where things go on happening behind history’s back.

Reversing and positivising the notion of woundedness and disfigurement, they embody, like war wounded, what embarrasses the future but does so not from misfortune but from a spirit of resistance that finds its joy, its creative lines of flight in a damaged life. If the punctum is that in the image which ‘wounds’ the viewer, it may be on account of a corresponding ‘woundedness’ inherent in certain images. It is because of this that these images incline us towards what we could call a gauzeous perception. The image is like a gauze placed upon its wounds, a loose weave beneath which something looms in luminous darkness. Opaque transparency of gauze unwound by my gaze. Shallow respiration of the wound.

Once frozen and digitised, not as a form of correction but to go even deeper into the play of grain and pixel through the haptic vision (where digital becomes touching) of Cézanne ‘s excessive proximity, no longer seeing but feeling the faults in the fabric, the images begin to move again, but according to a « false movement », the hypnotic rhythm of their subtraction and resistance.

(Silvia Maglioni & Graeme Thomson, Inarchivé)

 » Devant une image […] le passé ne cesse jamais de se reconfigurer, puisque cette image ne devient pensable que dans une construction de la mémoire, si ce n’est de la hantise. Devant une image, enfin, nous avons humblement à reconnâitre ceci : qu’elle nou survivra probablement, que nous sommes devant elle l’élément fragile, lélément de passage, et qu’elle est devant nous l’élément du futur, l’élément de la durée. L’image a souvent plus de mémoire et plus d’avenir que l’étant qui la regarde. « 

(G.Didi-Huberman, DEVANT LE TEMPS)

29
Juil
08

la balade (hypothesis 6)

« Did it matter then, she asked herself, walking towards Bond Street, did it matter that she must inevitably cease completely; all this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely? but that somehow in the streets of London, on the ebb and flow of things, here, there, she survived, Peter survived, lived in each other, she being part, she was positive, of the trees at home; of the house there, ugly, rambling all to bits and pieces as it was; part of people she had never met; being laid out like a mist between the people she knew best, who lifted her on their branches as she had seen the trees lift the mist, but it spread ever so far, her life, herself. » (Virginia Woolf, Mrs Dalloway)

29
Juil
08

like delicate wallpapers (hypothesis 2)

« Precisely where they become controllable and objectified, where the subject believes himself entirely sure of them, memories fade like delicate wallpapers in bright sunlight. But where, protected by oblivion, they keep their strenght, they are endangered like all that is alive. » (Theodor Adorno, Minima Moralia)

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17
Juil
08

argument de la diagonale/ z comme zigzag

19 juillet 2008 @ Bétonsalon

Dans le cadre de l’exposition Argument de la diagonale, Bétonsalon vous invite à la soirée Z comme Zigzag à 17 heures ce samedi 19 juillet.

::.: La fabrique du bois :.::

Le dispositif La fabrique du bois présente notre travail de recherche sur les liens entre Gilles Deleuze et ses étudiants à l’Université de Vincennes dans les années 1970. Cette présentation établit un dialogue avec le modus operandi de l’Abécédaire. Inspirés par les principes qui articulent (ou désarticulent) le texte de Francis Ponge La fabrique du pré (un texte qui s’intéresse davantage au processus de fabrication du poème qu’au produit fini), nous invitons le public à nous suivre pour une “ promenade virtuelle ” dans le Bois de Vincennes. Grâce à une carte prise sur Google Earth, nous avons élaboré un parcours rythmé par des fragments de textes, superpositions d’images et extraits sonores qui évoquent la méthode de travail  » radicale  » de Deleuze et la manière dont il élaborait des concepts.

SM & GT

“ La fabrique du bois ” is a dispositif that places aspects of our research on Deleuze’s work with his students at the University of Vincennes during the 1970s in dialogue with the modus operandi of “ L’Abécédaire ”. Inspired by the principles that govern (or ungovern) Francis Ponge’s La fabrique du pré (a text that attaches greater importance to the phases of preparation, elaboration and revision of a poem than to the finished product), we will engage the participants in a “virtual walk” around the Bois de Vincennes evoking through textual fragments, layered images and found sounds Deleuze’s radical working methods, his own endless preparation of lessons, the way he outlines a concept, seeds it, lets it lie, comes back to it by another route, adds something here or there, sees what happens when he places it in proximity to something of an entirely different nature, borrowed from another field of study. A google earth map of Vincennes will become an intensive cartography of multiplicities, a ground plan (or playground) for mnemonic conversational/conceptual itineraries and encounters.

S-crossing





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