scholarly journals Komunikacinė meditacija, arba kinas kaip filosofinė struktūra. Kino režisieriaus A. Tarkovskio ir filosofo G. Deleuze'o sankirta

2009 ◽  
Vol 51 ◽  
pp. 9-23
Author(s):  
Andrius Gudauskas
Keyword(s):  
Gilles Deleuze ◽  
Philosophy Of Communication ◽  
Flow Of Time ◽  
Theoretical Conception ◽  
Cinematic Time ◽  
Modern Mass ◽  
Time Image ◽  
Philosophical Questions ◽  
Philosophical Structure

Modernios komunikacijos priemonės imasi ryžtingai dalyvauti filosofijos mokslo diskurse. Šiame kontekste filosofas Gilles Deleuze ypač išskiria kino filmų vaidmenį, nes dažnai būtent šiuolaikiniai kino režisieriai ryžtingai tiesia tiltą tarp kino meno ir filosofijos. Moderniame kine, pasitelkus kinematografinę techniką, keliami ir formuojami nauji aktualūs filosofiniai klausimai. Matome, kad A. Tarkovskio filmuose rutuliojama esminė filosofinė idėja yra fundamentali amžinojo laiko idėja. Šiame straipsnyje kinematografinio laiko ir jo tėkmės pristatymo problema aptariama sąlytyje su filosofine Deleuze kino teorija ir komunikacijos filosofija apskritai. Tarkovskio kinematografinė mintis evoliucionuoja kuriant tam tikrą oponavimo poziciją materialistinei dialektinei S. Eizenšteino kino teorijai. Sampratai, redukuojančiai laiką kine į faktologinį ir mechanistinį ritmą, Tarkovskis priešpriešina tikroviškos ir nenutrūkstamos laiko tėkmės užfiksavimo ilgame plane (plan-séquence) praktinę bei teorinę koncepciją. Ilgi ir paskiri planai suardo racionalią klasikinę kino filmo struktūrą ir įgyvendina jame „iracionalų trūkį“. Analizuojama, kaip pavieniai ilgi kino planai, išsilaisvinę iš racionalių tarpusavio saitų, įgyvendina laikiškumo šukių: praeities,sapnų, atsiminimų ir pan. ontologinę bei konvergencinę jungtį nenutrūkstamo laiko tėkmėje.Pagrindiniai žodžiai: kinematografinis planas, kino montažas, komunikacija, filosofinė kino teorija, realus laikas, abstraktus laikas, vaizdas-judesys (image-mouvement), vaizdas-laikas (image-temps), ilgas planas (plan-séquence), trukmė (durée), laiko „presavimas“.Communicational meditation or cinema as a philosophical structure. Confrontation between a film director (Tarkovsky) and a philosopher (Deleuze)Andrius Gudauskas SummaryThe modern mass media are trying to take an active part in the philosophical scientific discourse. In this context, philosopher Gilles Deleuze makes a special emphasis on the role of films, because contemporary cinema directors are truly resolute in building bridges between cinema as an art and philosophy. Due to cinematic technologies, philosophical questions of new importance are being raised in modern cinema. The essential philosophical idea found in Tarkovsky’s films is the fundamental idea of eternal time. This article discusses the problem of representing cinematic time and its flow in relationship with Deleuze’s philosophical theory of cinema as well as with the general philosophy of communication. Tarkovsky’s cinematic thought evolves while creating a certain kind of opposotion to Eizenstein’s dialectically materealistic theory of cinema. Installing the true and continuous flow of time in a long plan-séquence, Tarkovsky opposes his practical and theoretical conception which reduces cinematic time to the factological and mechanistic rhythm alone. Thus, his prolonged separate planes destroy the rational classical structure of the film and introduces an “irrational break” into it. We analyze the ways how separate long plan-sequences liberated from their rational mutual ties, can present in the course of continuos flow of time the ontological and convergent links between such pieces of temporality as past reminiscences and dreams. Key words: cinematic plan, cinema montage, communication, philosophy of cinema, real time, abstract time, image-mouvement, image-temps, planséquence, duration (durée), pressing of time.

scholarly journals Revisiting Michael Snow’s Wavelength, after Deleuze’s Time-Image

2013 ◽  
Vol 6 (1) ◽  
pp. 7-17
Author(s):  
Jacob Potempski
Keyword(s):  
Gilles Deleuze ◽  
Linear Time ◽  
Avant Garde ◽  
Time Consciousness ◽  
Flow Of Time ◽  
The Subject ◽  
Narrative Medium ◽  
Time Image ◽  
Point Of Departure

Abstract Michael Snow’s Wavelength (1967) is one of the most written about avant-garde films. It has served as “a blue screen in front of which a range of ideological and intellectual dramas have been played out,” as Elizabeth Legge put it in a book-length study of the film, whose recent publication testifies to the continuing relevance of the film (Legge 2009). This paper takes Annette Michelson’s article, Toward Snow, one of the first and most often cited encounters with Snow’s cinema, as its point of departure (Michelson 1978). Michelson sees the film as a reflection which reveals the cinema as a temporal narrative medium. Drawing on Husserl’s phenomenology of time-consciousness, she argues that this reflection on the medium is at the same time a reflection on the structures of consciousness. However, the paper also draws on the work of Gilles Deleuze, whose two-volume study of the cinema has opened up new possibilities for thinking about time and the cinema (Deleuze 1983, 1985). The paper is not an interpretation of Deleuze. It appropriates and puts to work his idea that the cinema is not essentially a narrative medium; but a medium that disrupts linear time, making visible a non-chronological dimension of time, which fragments the subject and exposes it to liminal situations. Wavelength, I argue, reverses the flow of time, to make visible an abyss at the heart of time, which shatters the unity of the subject

scholarly journals THE TENSION BETWEEN CREATED TIME AND REAL TIME IN ANDREI TARKOVSKY’S FILM ANDREI RUBLIOV

2019 ◽  
Vol 12 (2) ◽  
pp. 327-340
Author(s):  
Jūratė Baranova
Keyword(s):  
Everyday Life ◽  
Real Time ◽  
Gilles Deleuze ◽  
Slow Speed ◽  
French Cinema ◽  
Cinematic Time ◽  
Russian Film ◽  
Andrei Tarkovsky ◽  
Time Image

This article starts with the presumption that Russian film director Andrei Tarkovsky (1932–1986) created a new conception of cinematic time. This impact on the theory of modern cinema was examined by philosopher Gilles Deleuze (1925–1995) in his book Cinema 2: The Time-Image (in French: Cinéma 2, L’Image-Temps, 1985). The article asks the question: what were the conceptual and social circumstances for everyday time to be implemented in a specific movie? As an example, it takes the film Andrei Rubliov (director Andrei Tarkovsky, 1969), which underwent protracted critique and compulsory shortening. The article asks the question: what is the meaning and significance of the cuts made when passing from the first version of The Passion according to Andrei (in Russian: Strasti po Andreyu, director Tarkovsky, 1966) to the final Andrei Rubliov? What is the meaning of the cuts made to the scenes of violence and nudity? The research conclusions are: the impatience of the critics who demanded that the long scenes in The Passion according to Andrei be shortened speaks not about defects in the film, nor about the inability of Tarkovsky to calculate time, but rather about the inability of observers to grasp Tarkovky’s new conception of cinematic time. According to Deleuze, in his attempt to transfer into cinema the slow speed of everyday life, Tarkovsky created a feature of modern cinema, and made a turn from movement towards time; time in this particular movie is already made visible.

Science and Dialectics in the Philosophies of Deleuze, Bachelard and DeLanda

Paragraph ◽  
2006 ◽  
Vol 29 (2) ◽  
pp. 98-114 ◽  
Author(s):  
James Williams
Keyword(s):  
Gilles Deleuze ◽  
Explanatory Power ◽  
Scientific Theories ◽  
Gaston Bachelard ◽  
Contemporary Science

This article charts differences between Gilles Deleuze's and Gaston Bachelard's philosophies of science in order to reflect on different readings of the role of science in Deleuze's philosophy, in particular in relation to Manuel DeLanda's interpretation of Deleuze's work. The questions considered are: Why do Gilles Deleuze and Gaston Bachelard develop radically different philosophical dialectics in relation to science? What is the significance of this difference for current approaches to Deleuze and science, most notably as developed by Manuel DeLanda? It is argued that, despite its great explanatory power, DeLanda's association of Deleuze with a particular set of contemporary scientific theories does not allow for the ontological openness and for the metaphysical sources of Deleuze's work. The argument turns on whether terms such as ‘intensity’ can be given predominantly scientific definitions or whether metaphysical definitions are more consistent with a sceptical relation of philosophy to contemporary science.

scholarly journals Becoming Child and Sustainability—The Kindergarten Teacher as Agency Mobiliser for Sustainability through Keeping the Concept of the Child in Play

2021 ◽  
Vol 13 (10) ◽  
pp. 5588
Author(s):  
Anita Tvedt Crisostomo ◽  
Anne B. Reinertsen
Keyword(s):  
Gilles Deleuze ◽  
Kindergarten Teacher ◽  
Felix Guattari ◽  
Teacher Roles ◽  
Educational Organization ◽  
Nature And Culture ◽  
And Function ◽  
Opening Up ◽  
Power Position

In this article, we seek to theorize the role of the kindergarten teacher as an agency mobiliser for sustainability through keeping the concept of the child in play, ultimately envisioning the child as a knowledgeable and connectable collective. This implies a non-dialectical politics of multiplicity ready to support and join a creative pluralism of educational organization and teacher roles for sustainability. Comprising friction zones between actual and virtual multiplicities that replace discursive productions of educational policies with enfoldedness, relations between bodies and becomings. This changes the power, position and function of language in and for agency and change. Not through making the child a constructivist change-agent through language but through opening up the possibilities for teachers to explore relations between language and matter, nature and culture and what might be produced collectively and individually. We go via the concepts of agencement expanding on the concept of agency, and conceptual personae directing the becoming of the kindergarten teacher. Both concepts informed by the transformational pragmatics of Gilles Deleuze (1925–1995) and Félix Guattari (1930–1992). The overarching contribution of this article is therefore political and pragmatic and concerns the constitution of subjectivity and transformative citizenships for sustainability in inter- and intra-generational perspectives.

Deleuze and Lola Montès

2020 ◽  
Author(s):  
Richard Rushton
Keyword(s):  
Gilles Deleuze ◽  
Film Studies ◽  
Film Theory ◽  
World Today ◽  
Film Interpretation ◽  
The World ◽  
Time Image

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

scholarly journals Harmfulness of the autistic object to its indispensability for autism clinically in psychoanalysis

2016 ◽  
Vol 19 (2) ◽  
pp. 339-356 ◽  
Author(s):  
Paula Ramos Pimenta ◽  
Jésus Santiago ◽  
Ana Lydia Santiago
Keyword(s):  
Body Image ◽  
Psychoanalytic Treatment ◽  
Theoretical Conception

ABSTRACT: In this paper we examine the concept of the autistic object in the psychoanalytic treatment of individuals with autism. Comparison is made between the concepts of two authors, Frances Tustin and Jean-Claude Maleval, both dedicated researchers in the area. Tustin identifies the function of autistic objects in the treatment of the autistic body image. Differentiation between autism and schizophrenia is presented. Maleval enhances the perception of Tustin, by highlighting the role of dynamism in autistic objects, as a promoter of the libidinal animation of autists. The paper concludes by assessing the consequences of privileging one or another theoretical conception of the autistic object clinically.

New Perspectives Of Media-Text Under The Conditions Of Mass Media Conversion

2021 ◽  
Vol 03 (02) ◽  
pp. 28-33
Author(s):  
Avaz Khamitovich Mirzajonov ◽  
Keyword(s):  
Mass Media ◽  
Individual Recognition ◽  
Real Life ◽  
Media Convergence ◽  
The Real ◽  
Communication Processes ◽  
The Mass Media ◽  
Modern Mass

The article is devoted to the analysis of changes in the communication processes of the late XX - early XXI centuries, reflecting the powerful impact on the real life of modern mass media, the problems associated with understanding media text in the condition of Mass Media convergence, clarifying the role of the Mass Media in forming society and individual recognition and how far their influence extends on modern man.

Cinematic Time and Animal Worlds

Animal Worlds ◽  
2019 ◽  
pp. 42-65
Author(s):  
Laura McMahon
Keyword(s):  
Animal Studies ◽  
Theoretical Framework ◽  
Deleuze And Guattari ◽  
Critical Animal Studies ◽  
Ways Of Thinking ◽  
Cinematic Time ◽  
Key Aspects ◽  
Time Image

This chapter develops key aspects of the book’s theoretical framework, moving between philosophies of animal worlds and Deleuze’s account of cinematic time. It draws on the concept of the Umwelt proposed by Uexküll, and the different responses to this concept offered by Heidegger and Deleuze and Guattari. Focusing in particular on Deleuze and Guattari’s reworking of the Umwelt as a process of ‘desubjectified’ assemblages, the chapter links this to Deleuze’s thinking of the time-image as a shift from subject to world, and as a realm that is intricately bound up with questions of differing, becoming and the virtual. While suggesting ways of thinking through links between Deleuze, cinema and the slow animal film, the chapter also turns to recent accounts of the relation between animals and film, by Burt, Pick, Lippit, Sobchack and others. Engaging with yet also moving beyond the recourse to Bazin that has tended to shape the field thus far, it emphasises what Deleuze’s theory of cinematic time can add to this developing body of work, as well as what a more detailed and wide-ranging account of Deleuze and Guattari’s model of animal worlds can contribute to the field of critical animal studies.

scholarly journals Passion for the Art of Morally Responsible Technology Development

2019 ◽  
Vol 85 ◽  
pp. 87-109
Author(s):  
Sabine Roeser ◽  
Steffen Steinert
Keyword(s):  
Technology Development ◽  
Review Literature ◽  
Ethical Reflection ◽  
Moral Reflection ◽  
Technological Risk ◽  
Technological Developments ◽  
Philosophical Questions

AbstractIn this article, we discuss the importance of emotions for ethical reflection on technological developments, as well as the role that art can play in this. We review literature that argues that emotions can and should play an important role in the assessment and acceptance of technological risk and in designing morally responsible technologies. We then investigate how technologically engaged art can contribute to critical, emotional-moral reflection on technological risks. The role of art that engages with technology is unexplored territory and gives rise to many fascinating philosophical questions that have not yet been sufficiently addressed in the literature.

Breaking Form through Sound: Instrumental Aesthetics, Tempêête, and Temporality in the French Baroque Cantata

2009 ◽  
Vol 26 (3) ◽  
pp. 327-378 ◽  
Author(s):  
Michele Cabrini
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
French Opera ◽  
The Tempest ◽  
Dramatic Structure ◽  
Opera Seria ◽  
Temporal Continuity ◽  
Flow Of Time ◽  
Musical Response

Abstract Between Lully's death (1687) and Rameau's operatic debut (1733), composers of the tragéédie en musique experimented with instrumental effects, greatly expanding the dramatic role of the orchestra. The profusion of these effects coincides with a new aesthetic reappraisal of instrumental music in France, as can be observed in the writings of Du Bos. The tempêête constitutes one of the most remarkable examples. Its sonic violence was too strong to end with the instrumental movement that depicted it; indeed, composers often prolonged the storm scene into a series of movements all connected by thematic material and key to produce a verisimilar effect of the storm's momentum, thereby creating what I term ““the domino effect.”” By the early eighteenth century, the tempêête had become such a well established and popular topos that it began migrating to non-staged genres like the cantata. The transference of the tempest topos from the tragéédie lyrique to the French baroque cantata entailed the breaking of formal frames. Unlike the supple dramatic structure of French opera, the cantata adopted the more rigid mold of the Italian opera seria——the recitative-aria unit——which separated the flow of time into active and static moments. Three case studies——Bernier's Hipolite et Aricie (1703), Jacquet de la Guerre's Jonas (1708), and Morin's Le naufrage d'Ulisse (1712)——demonstrate how composers manipulated this mold to satisfy a French aesthetic that valued temporal continuity for the sake of verisimilitude. All three composers employ key and instrumental music to portray the storm's forward momentum across recitatives and arias, relying primarily on rhythmic energy and melodic activity to create continuity. Although each composer's musical response varies according to personal style, what emerges is a shared aesthetic and compositional strategy employed to portray an event whose relentless power transcends the temporal boundaries between recitative and aria. This aesthetic of continuity and linearity shown by French baroque composers influenced the treatment of the tempest topos in the later eighteenth-century repertory, vocal and instrumental alike, including opera, the concerto, the overture-suite, and the characteristic symphony.

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