Le Pas au-delà

@lepasau-dela

“…[T]he image in cinema – and not only in cinema, but in modern times generally – is no longer something immobile. It is not an archetype, but nor is it something outside history: rather, it is a cut which itself is mobile, an image-movement, charged as such with a dynamic tension […] Historical experience is obtained by the image, and the images themselves are charged with history. One could consider our relation to painting in a similar way: paintings are not immobile images, but stills charged with movement, stills from a film that is missing.” Giorgio Agamben

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johananderslif

“We choose to believe in the flotsam, the light glance passing and innocent because unpriced.”

— J.H Prynne, from “Sketch for a Financial Theory of the Self” (Kitchen Poems, 1968)

hexternalities

“[T]he present—in this society, and in the physical and psychic dissociation of the human subjects who inhabit it—is inaccessible directly, is numb, habituated, empty of affect. Elaborate strategies of indirection are therefore necessary if we are somehow to break through our monadic insulation and to “experience,” for some first and real time, this “present,” which is after all all we have.”

— Fredric Jameson, “Progress versus Utopia, or, Can We Imagine the Future,” Science-Fiction Studies, vol. 9, no. 2 (1982)

bunburysm

“London“ (1994), Dir. Patrick Keiller.

lepasau-dela

Colette Peignot more commonly known as Laure (and ‘friend’ of Georges Bataille…)

lepasau-dela

John Hilliard Distorted Vision 1991

lepasau-dela

Lillian Bassman

lepasau-dela

Raoul Ubac, Agui au miroir au tain endommagé, 1933

lepasau-dela

Fernand Léger, Ballet Mécanique (1923-4)

lepasau-dela

Stretta - Calculus, dir. by Franck Trebillac (produced by Franck Trebillac & Marc Broussely; director of photography Marc Broussely; art director Franck Trebillac; Camera Marc Broussely; Editor & post-production Franck Trebillac; Executive producer Crashburn media).

More here: francktrebillac.com

lepasau-dela

René Descartes, Traité de l'homme or Treatise of man (1648)

Descartes compared the process of remembering, and memory, to the traces needles would leave when pressed into a fabric. In human terms, memory was the pattern left by the holes of ‘events’ imprinted in a person’s 'vital spirit’ (or consciousness). Recollection occurred by recalling the pattern, which obviously became stronger when the original pattern was repeated many times.