[D-G] color In 1907
liza_kozner at yahoo.co.uk
Mon Dec 19 14:36:04 PST 2005
Liza In 1907, just by flashing monochromatic lights one might
reterritorialize a space, but just imagine how much better the
reterritorialization process would work with POLY-chomatic lights!
hell, why not invent another dimension to this experimental system and
add fantastic stereo sound fx too, now that would be something fit for
no i think it's not more a casualistic that i want to find. maybe it's not evident for me as common sense, but the colors in cinema depends the use, and the main stream use is to be more passe partout, i don't know the english translation? like goes everywhere, so it's linked with reaching new souls after something new can be "said" to them. for example the need to moralize the souls depressed after 1929 krash? something advances in one direction, a space is free, a hole is built, and somebody will inhabvit it and new souls could be reached by this unknown. communicant vases, to let them as tiny worms invade this hole. a message, but more than a message. a message of the unconscious to the unconscious perhaps, or to the unknown. yet for that an invention of a subjectivated unconscious. panchromatic as yet one more reterritorialisation, why? at some point its also a hole, but its about testing holes, and the communication between the holes, the spaces of freedom for the bodies. i
think the idea of being the first to get in one such a space, or hole, is an interesting notion. main stream cinema nowadays want rather there is many people, and needs the screen to flaten the multitudes. because it's dimensional space where intensities can be hierachised. but instead of allowing the communication to spill over, to become a native of the wholes. it's it needs holes to stay separated. never is it in question to enjoy the structure in itself. the reversibility of the link, would it be a reterritorialisation though? the same with bees, each bee his cell. but intensities are experienced by inhabitants of the human world, so the structure can express its power in a way convenient to the politic of the studios, the politic of the producer, of the financers, the directors, the actors. each with a seat, a cell, a hole. and communication being limited, constrained, and enables a change of place in the structure. somebody one day will tell you to get out of your hole if you
do not, or if you do this. so you stand in the web. i think this hole idea needs to be analysed here in further courriels.
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