Lost Posts

This is terrible news. I lost all my blog posts...

Luckily, I saved some drafts of the writings; I assume I can put some of them back (I have put back most of them). Maybe this is not as horrible as it sounds, as it will give me a chance to reread all my notes on this blog.

To forget this incident and move on, I should spend some time reflecting on the last two meetings I have had with C&A and Eugene. It might be a regret than a reflection. First, the regular meeting with C&A was lovely but chaotic due to my unorganised ideas and thoughts. The biggest problem was that I didn’t have any references to visualise what I wanted to convey. I only imagined and simulated it in my mind to mix all digital and analogous imageries—or hope to realise. One of the references I got from C was Bazin’s text. I posted a summary of it in this blog—which all disappeared now—and understood why he thought this after Danto’s text. Honestly, I don’t know about Bazin’s concepts much, but I only heard that he influenced Deleuze in terms of the categorisation of the cinematic image between postwar and modern cinema. I can roughly understand why Bazin used the term decoupage rather than montage, which is probably related to cinematic realism in a logical structure. However, if that realism is structured by using documentary or essayistic images into something that we receive as repeatable memory, one of the differences between Bazin and Deleuze would be the understanding of real and virtual. Here, Bergson comes in. In this text, Bazin provides an essential connection between the photographic and referential images we are part of. At least in Bullfighting (1951), we are part of the cinematic world as someone witnessing an unrepeatable essential moment of life: death. A shock comes into the image, not because of the graphic horror but the never-ending mummified moment, a moment that divides the duration of consciousness and objective time. This means he analyses three different durations of time in cinema.

  1. Duration of Consciousness
  2. Objective duration
  3. Real-time (decoupage, logical construction)

The last is unclear. But this relationship crushes when the actual human being (not as actors or characters) starts showing consciously unrepeatable moments in realism. On the other hand, for Deleuze, the duration of consciousness is the outer layer of possible time; the potential time includes real-time and objective duration. (I should articulate this further)

This reason was maybe what C was mentioning about expanded cinema: the intermingled relationship between the outside of the real and the inside of the real. However, I am not sure how expanded cinema can be related to Bazin and Danto’s frame, except for the inclusion of the concept in physical.

Reflection from E meeting

E’s translation was definitely helpful as it gave a third-person understanding from a different point of view. I showed interest in how this translation would help develop the synthesis of practice and writing, Korean and English, Deleuze and Eisenstein, Analog and Digital, etc. However, as she is not part of my research group, it would be unfair to ask her to help me at all stages of the development.

We both decided that this would be limited to one chapter throughout the writing and the writing might be developed further during the translation.