2009 : cine101.com
... There is no time after the resurrection : Project 2009
That's how instead of "History Without Me" begins My History.
And -- my story!
Fedorov's Files @ filmplus.org/tech
Language of Angels
I don't remember it.
What I know that I was brought from nowhere. That I wasn't here.
Yes, I know, I have to die in order to be resurrected.
I can't write much about Resurrection, this is the theme of my last book. Here I write only about how to see it, the Resurrection.
Also, I have to mention again that I have certain conditions imposed on me. I can't make anything, no fiction under any circumstances (our "reality" is a fiction, read the spectacle pages). This book is my testimonials for the Last Judgement and I have to tell everything the way it is....
Theory of Spectatorship aDiary + Film-North Album (new)
"Resurrection" got too many negative connotations. First, religious. "Theology" is not 4-letter world, it's longer. Second, substitute it with the word "Technology" (we love this one). So, treat it as, if we have a "summit on resurrection"...
Maybe I am wrong and both (POV and Tect) are not independent books, but only the Two Books of Resurrection" our hero writes (thinks about). No need for a new plot, but the part of the Part III in Self? [I don't like the "fictionalization" I got myself into in POV -- better, if it's only his thoughts in Anatoly Travels"....
NEW : updates
Summary"Придут дни, когда пожелаете видеть хотя один из дней Сына Человеческого" (Лк. 17:22).
QuestionsYou are not serious, aren't?
Bad Subjects, Wrong Theories
NotesThis page badly needs rewrites, or -- notes, at least. I myself hardly can read it!
SOFTWARE OF RESURRECTIONIn apocalyptic environment everything is seen as event, movement and energy. Sexuality is a travel, trajectory of events. (See _Machine Talks_ in Theology of Technology). Intercourse instead of discourse. Relations (functions) over objects. Link is a primary subject.
The new world is a staged reality.
Controlling language -- directing the main actor of apocalypse -- man.
Semiotics are needed for reading the events in performing universe.
THEATRE OF PHILOSOPHY, battlefield of ideas
I need a non-gendered, non-raced, dematerialized body to be connected with a machine. I have to gain many qualities of my tools. Tools are open subjects, do not function without a purpose of serving. Open body is a physically unlocked through mind. Interaction with the tolls (outside artificial organs) is not a dialogue? Dialogism is inner connectivity, which become the Outside. Conflict is an indication of centrality, action moves the focus from within I. Marx long ago asked for different theory of the subject.
voices = pov
real = being = given
folding in of the outside
Brecht: alienation -- the dual existence. Without it you can't form yourself. I need the outside power and constant war against me to develop my will and mind.
Marxism and the theory of relativity; I am a wave, according to the state. Aha, the principle of uncertainty; I am both.
Communism is the social name (condition) of resurrection, leveled field (chaos is about the invisible order), instrument of deconstruction... Hey, entropy is equality.
Idea of "resurrectional" time, leisure position, paradise space, non-working, "empty" time. Bought pleasure, loaned, rented, not-yours. That's the promise. Now -- work.
What do you think this experience of watching tv is?
QM of Super-History
Dynamic analysis: process is everything (Results are nothing. Trotsky on Permanent Revolution). On some level all things are movements (including thoughts, and especially, feelings).
Events: people come and go, on call. Manifestation of forms of temporality.
Chaos theory should be invented by historians.
My case -- Russia: think not about things (static) but actions. As if of an evolution of idea (Hegel). But even historical events we treat as things! Marxism tried to remove an individual from the picture (historical figures were robots of historical determinism). A depressing thought which serves its purpose to depress an individual... One glance at them, the current world leaders, could make you a marxist.
Fear gives birth to thoughts. Pre-existing emotions? Who said that nature is indifferent? It was an useful concept, time to bring back mythological reading of universe.
Self-defence of a dispersed individual ("dividual," Delueze). Internet is the culture of the opressed. Minorities complains are expression of the pain of the biddgest minority of all -- an individual.
What would we consider mortality of a machine? (manufacturer's guaranty gives an indication of how long would it lives while working).
Deleuze: Machine has desire to live and it doesn't experience death. Also, it's identical with the same machine. The social ideal for us?
The very nature of cinema would implicate it as the medium of choice for the Eternal Recurrence. It is a medium where pictures take on the nature of music, in the sense that the film can be played over and over again, but also a sequence of images that can be representative of pieces of life'. Nietzsche says in Ecce Homo, "Perhaps the whole of Zarathustra may be reckoned as music; certainly a rebirth of the art of hearing was among its preconditions." What would Nietzsche make of cinema?
...Certainly there is the idea that film is the most naturalistic metaphor we have for life. This case considered, what would be the role of the Greatest Weight, The Eternal Recurrence? The filmmaker is faced with a less metaphysical version of the Eternal Recurrence. The filmmaker has to face the fact that the film will be relived' innumerable times. Every decision made will remain the same upon completion, every last detail will happen again and again. Film, unlike the other performing arts, holds true to this. There is no more room for interpretation or a change of venue or actors. The instant the film is complete, it is crystallized in its eternal fate. Even music does not share this quality, only in the sense that it is recorded, but even then, the piece played remains the work of the composer, which is ultimately open to the interpretation of the performer. Film's performer is a machine, and its only interpretation' (or deviance from the maker's intention) would be a technical malfunction. (Film and Philosophy, Volume I.1)
The dreams have no dream. Just as the technicolour heroes do not allow us to forget for a second that they are normal people, type-cast public faces and investments, so under the thin tinsel of schematically produced fantasy emerges in unmistakable outline the skeleton of cinema-ontology, the whole obligatory hierarchy of values, the canon of the undesirable or the exemplary. There is nothing more practical than escape, nothing more fervently espoused to big business: we are abducted into the distance only to have the laws of empiricist living hammered from afar, unhampered by empirical possibilities of evasion, into our own consciousness. The escape is full of message. And message, the opposite, looks what it is: the wish to flee from flight. It reifies the resistance to reification.
The film has succeeded in transforming subjects so indistinguishably into social functions, that those wholly encompassed, no longer aware of any conflict, enjoy their own dehumanization as something human, as the joy of warmth. The total interconnectedness of the culture industry, omitting nothing, is one with total social delusion.
"Nature is at war with itself." Now you can see it. Eisenstein about the theory of montage.
 Ecce Homo, Thus Spoke Zarathustra, sec.1.
This is a part of the PERFORM chapter.
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2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
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