The Trip Movie

Ni ga na Liffe. Tetkasti klub organizacije-selekcije, le kaj naj bi Noé tu sploh počel?

Zaenkrat ostane pri tistem (tako ali tako ga lahko le v neskončno dohitevamo), kar Deleuze v Podobi-gibanju zapiše o povezavi Vertov-ameriški eksperimentalni film:
“Če namreč začnemo s trdnim stanjem, v katerem se molekule ne morejo prosto premikati (molarna oziroma človeška percepcija), preidemo nato v tekoče stanje, v katerem se molekule premikajo in polzijo druga skozi drugo, nazadnje pa dosežemo plinasto stanje, definirano s prosto potjo sleherne molekule. Morda bi se morali po sledeh Vertova napotiti prav tja, do zrna materije oziroma plinaste percepcije in onstran poteka. /…/

Utripajoča montaža: fotogram je izluščen onstran povprečne podobe, vibracija pa onstran gibanja /…/.

/…/ fotogram še zdaleč ni vrnitev k fotografiji, temveč prej – če sledimo Bergsonovi formuli – ustvarjalni princip k tisti fotografiji, ki je ‘posneta in razvita znotraj reči in za vsako točko prostora’.

/…/ narediti iz filma mašinsko razvrstitev podob-materij. Ostaja pa vprašanje, katera razvrstitev izjavljanja bi temu lahko ustrezala, saj je odgovor Vertova (komunistična družba) izgubil ves pomen. Je morda odgovor v drogi kot ameriški skupnosti? Droga deluje v tej smeri zgolj s perceptivnim eksperimentiranjem, v katerega vodi /…/.

Če sledimo iniciacijskemu programu Castanede, tedaj je naloga droge ustaviti svet, razvezati percepcije od ‘početja’, potemtakem senzorično-motorične percepcije nadomestiti s čistimi optičnimi in zvočnimi percepcijami; narediti vidne molekularne intervale, luknje v znakih, v oblikah, celo v vodi; v tako ustavljenem svetu pa skozi luknje v svetu narediti prostor hitrostnim črtam. Tak je program tretjega stanja podobe, plinaste podobe, onstran trdnega in tekočega: doseči ‘drugačno’ percepcijo, ki bo hkrati tudi že genetski element sleherne percepcije. Zavest-kamera se dviga do določila, ki ni več formalno ali materialno, temveč genetsko in diferencialno. Od realne definicije percepcije smo prešli h genetski definiciji.”

***

We’ve entered the void.

For the moment one has to limit oneself (this limit being limitless) to The Movement Image where Deleuze sees the connection Vertov-American experimental film:

“For, if we start out from a solid state, where molecules are not free to move about (molar or human perception), we move next to a liquid state, where the molecules move about and merge into one another, but we finally reach a gaseous state, defined by the free movement of each molecule. According to Vertov, it is perhaps necessary to move beyond flowing to that stage: the particle of matter or gaseous perception. /…/

Flickering montage: extraction of the photogramme beyond the intermediate image, and of vibration beyond movement /…/.

/…/ the photogramme is not a reversion to photography but rather, following Bergson’s formula, the creative apprehension of this photo ‘snapped and taken in the interior of things and for all the points of space’.

/…/ to form the cinema as machine assemblage of matter-images. The question of the corresponding assemblage of enunciation remains open, since Vertov’s answer (Communist society) has lost its meaning. Might the answer be: drugs as the American community? If drugs have this effect, however, it is only because of the perceptive experimentation which they induce /…/.

To follow Casteneda’s programme of initiation: drugs are supposed to stop the world, to release the perception of ‘doing’, that is, to substitute pure auditory and optical perceptions for motor-sensory perceptions; to make one see the molecular intervals, the holes in sounds, in forms, and even in water; but, also, in this stopped world, to make lines of speed pass throughthese holes in the world. This is the programme of the third stage of the image, the gaseous image, beyond the solid and the liquid: to reach ‘another’ perception, which is also the genetic element of all perception. Camera-consciousness raises itself to a determination which is no longer formal or material, but genetic and differential. We have moved from a real to a genetic definition of perception.”

Keywords: Enter the Void, Gaspar Noé, Dziga Vertov, Gilles Deleuze

LFO – Freak

Leave a Reply Cancel reply

LOČENI ODPADKI