Archive for the 'time-image' Category


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


« 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


undevelopment (forme de-révélation)





cahier :: image-temps (hypothesis 14)










effet frappant sous la lune


supposition que par temps clair elle soit en opposition


The cabin. Its situation. At the inexistent centre of a formless place. Rather more circular than otherwise finally. Flat to be sure. To cross it in a straight line takes her from five to ten minutes. Depending on her speed and radius taken. She who loves to – here now she who can only stray never strays. Stones increasingly abound. Ever scanter even the rankest weed. Meagre pastures hem it round on which it slowly gains. With none to gainsay. To have gainsaid. As if doomed to spread. How come a cabin in such a place ? How came? Careful. Before replying that in the far past at the time of its building there was clover growing to its very walls. Implying furthermore that it is the culprit. And from it as from an evil core that the what is the wrong word the evil spread. And none to urge – none to have urged its demolition… As if doomed to endure.

(S. Beckett)


brûler les films, mais avec le feu interieur…


Paris 8 – St. Denis

4 novembre 2008







History of Organic Matter. What is fire ? Well, as we know, it is a very rapid oxidation and we know very well that oxidation is death. Fire, the anima, puffs of warm breath, this sign of life is also the most rapid path toward death. But inversely the life, the death (of organisms), is an oxidation that is very slow, a very banked fire. So, for example, in autumn we see yellow leaves grow red, then fall. And what comes of this in the end? The universal ash tray, the earth, (remains of the three kingdoms).

But on the other hand, at a certain season when the sun returns, the water tends to evaporate, this water which reimpregnates the universal ashtray,wishes to die in turn through the effect of the heat that rises again, it gives up, it evaporates, but then it draws along with it, toward the sky, those organic remains, it revives the universal ashtray, the grass and life surge up again and there is the pré. Grass, then, expresses the universal resurrection under the most elementary form.

(Francis Ponge)


rien de bon passe par le souvenir




« 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.)




falaise (hypothesis 13)


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)


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)


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





digital development (ou révélation digitale)


raptus of capture


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)


a sort of magic circle (hypothesis 4)

« …their foliage lost in the dark, developed a halo of irreality… »

(Witold Gombrowicz)




time present and time past (hypothesis 3)

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.
Other echoes
Inhabit the garden. Shall we follow?
(T.S. Eliot ‘Burt Norton’ Four Quartets)



Vertigo/Vincennes (Prelude)

« Somewhere here I was born and there I died… »


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.


“ 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.


::: NOW/HERE :::

juillet 2020

::: Rhizome Stats :::

  • 41 545 hits