Of this is all about the film, or the "movies" as cinema is called in America. Well, it moves, the motion pictures. The motion is the secret. Of the velocity of it?
Dr. Faust should know about the physics and that the speed controls space and time, the super-speed, I mean. The speed of light is fast -- the time slows almost to zero. Times stops....
There are pages (this one, or Light) I do not know how to work on. I started Film600 directory with a thought of developing a postmodern dictionary. New and the old words redefine. I broke my own promice not to make new pages. I made this promice because I know that I die first before I can finish what I started...
Questions
fool.vtheatre.net [ru]
Notes
Like with "Time Production" chapter there is a limit I reach discussing the subject without using film language; therefore I have to do the rest in Film600 directory: Bad Theory, Wrong subjects (I will place the link to it in dict.txt, in addition to bar at the top).
I was a physics major and the second law of thermodynamics worries me so much that I became a writer. I take everything personally. Read Film600 files and you will see that electricy or gravity are my private and sensitive matters of concern. The same with "speed" or even worse -- with the changes of speed! And the changes of changes!
And what now? The endless End?
TRUE HERO: SPEED AS A SUBJECT
"Speed," the movie; cinema and the nature of PM (dromology).
Prisoners of speed, the urban wolrd ends in the underworld of chained buses -- subway. Speed is unnoticeable from inside, till the accident.
Catastrophe genre -- life of accident. Screen event exists only in a spectator's mind. Fictional and constructed -- spectacular,
because it's deadly. Humans against the speed. They are faster
than speed. Public place out off control; techno-speed is always
communal. Who controls the speed, controls life.
And, of course, "the race against time." As always time is
on the side of a villan. Hero must be faster than time.
There are no characters, only heroes. Thought is a heroic
activity.
MOTION PICTURES exist on speed.
Event is a collision of events (wills?). Man is a text
because he is a narrative of event. Composition of feeling.
Eisenstein.
What about DIALOGICSM in film? What about it, Mr. Bakhtin?
Film is a final catastrophe of language. Oral or written?
Logos in forms of epos. Community of science and community of
culture. Anonymity of author. Rhetoric with gestures and sounds.
Interpretation is a mental event. Misunderstanding changes
the subject? Idea fights for its life.
Celebration of struggle. Mortal Games.
Virilio: Dictatorship of Movement
"Does virtual reality live on after the catastrophe of the real world?" _Global Debt and Parallel Universe_, Jean
Baudrillard.
Anti-Odyssey: protecting myself from travel. Why should I
see London, or all the countries I'm passing by? What for?
Information now expands to such an extent that it no longer has anything to do with gaining knowledge.
Collecting data, accumulating and transporting information all over the world are the same thing as compiling an unpayable debt. And here too, since proliferating information is larger than the needs and capacities of any individual, and of the human species in general, it has no other meaning but that of binding humankind to a destiny of cerebral automation and mental underdevelopment. It is clear that if a small dose of information reduces ignorance, a massive dose of artificial intelligence can only reinforce the belief that our natural intelligence is deficient. The worst thing that can happen to an individual is to know too much and, thus, to fall beyond knowledge. It is exactly the same thing with responsibility and emotional capacity. The perpetual intimation of the media in terms of violence, suffering, and catastrophe, far from exalting some sort of collective solidarity, only demonstrates our real impotence and drives us to panic and resentment. (B)
.... [ I have to think through this new Internet experience = living with the speed of light ]
Reason would probably insist that we include these worlds into our homogeneous universe: nuclear weapons would have a peaceful use, all the debts would be erased, all the flows of capital would be reinvested in terms of social well-being, and information would contribute to knowledge. This is, no doubt, a dangerous utopia. Let these worlds remain parallel to ours, let their threats hang up in the air: their ex-centricity is what protects us. For, no matter how parallel and ex-centric they may be, they are in fact ours. We are the ones who created them and placed them beyond our reach, as an ersatz of transcendence. We are the ones who placed them on their orbits as some sort of catastrophic imaginaries. And it is perhaps better this way. Our society was once solidified by a utopia of progress. It now exists because of a catastrophic imaginary. (B)
Think about protecting yourself from information. This
another way of socialization. The same effect as cencorship. More
effective. That's what the do with their entertainment idea. They
hide away from knowledge, you -- from known them.
Fake the travel. Pretend being there. Pay back -- they are
never there for you. Make believe that you exist. Construct you
presence. Oh, the miracle of simulicra! They will never know that
it's only a web page. Being visible is the best way to hide. They
constructed the net, use it for your protection. Live in a
paralel (public) life with yourself.
ENDNOTES
Buber _I and Thou_: an ontology of the between (montage): see SELF
