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There will be space to ask questions. Spanish translation will be provided. Thursday, October 24, pm In , a group of scientists and activists committed to the practice of science to end oppression and violence began publishing Science for the People , a flagship publication of the radical science movement for 20 years. This reading group coincides with the release of the first issue from the relaunch of Science for the People, which aims to introduce the principles of radical science to a new generation of activists looking to understand and transform the world around us.
Discussion with filmmakers Daniel Flores Y Ascencio to follow. Deleuze sees a correspondence between Bergson's types of images and Peirce's semiotics. Deleuze also must account for Bergson's perception in Peircean terms, writing "there will be a 'zeroness' before Peirce's firstness". Furthermore, for Peirce, every sign has three aspects: it is a sign in and for itself; it is a sign in relation to the object from which it arises; and it must be encountered and interpreted by a mind.
This means that each of the categories of firstness, secondness, and thirdness have three aspects. So, there are would appear to be 3 x 3 types of sign; or 27 types of sign. However, many of these cancel each other out, and so there will be ten types of sign in total. There has been much confusion between Deleuzian cinema scholars over how many images and signs there are in the movement-image, as well as disagreements as to how important such an expansion is for Deleuze's film philosophy.
Ronald Bogue, writing in , comments that at "a minimum, the signs of the movement-image are fourteen […]. At most, they number twenty-three […]. But obviously, the tally is insignificant, for Deleuze is no ordinary system builder […] his taxonomy is a generative device meant to create new terms for talking about new ways of seeing". In cinema Deleuze saw "the proliferation of all kinds of strange signs".
Deleuze writes on the multitude of movement-images that "[a] film is never made up of a single kind of image […] Nevertheless a film, at least in its most simple characteristics, always has one type of image which is dominant […] a point of view on the whole of the film […] itself a 'reading' of the whole film". A character or characters will emerge from out of gaseous perception, creating a centre or centres through liquid perception towards a solid perception of a subject. These characters will gather up the amorphous intensities […] of the any-space-whatever, entering into dividual relations with the mass and becoming an icon which expresses affects through the face.
Such affects will pass into action: as impulses and symptoms of the world of primal forces; as behaviours which both reveal the world and attempt to resolve the world […] Such characters and such situations can be reflected upon and so be transformed through cinematic figures equivalent to metaphors, metonyms, inversions, problems and questions.
Cinema 1: The Movement Image - Wikipedia
And these films will […] allow characters their dreams and imaginations, their memories, and allow them to understand and comprehend the world through mental relations […] Yet [… a] sign will arise, making an image, avatar and domain dominant. All other images will circulate and dissipate around this sign. We will — in this way — be able to discover how a sign becomes the principle of the film, and so be able to say this film accords with such a sign".
From Wikipedia, the free encyclopedia. However, some signs are not named and some images and signs appear early in Cinema 2. If the reference is without parenthesis this indicates it comes from Cinema 1.
If the reference is in [-] this indicates it comes from Cinema 2. However, the logic of this reflection-image would seem to indicate an encounter with a sign which could compose both the plastic and the theatrical figures […] Such a description appears to designate the figure known as mise en abyme: the recurrence of an image within an image within an image. A consideration of the case of the inversion-image is also helpful here. Deleuze will derive the genetic sign of this reflection-image through just such a collapse and folding […]".
Such a description indicates a genetic figure where the two signs of composition circulate each within the other. Such a naming must be imposed upon this sign, for Deleuze does not specify the designation; yet the function of this final figure is clear — as with the two reflection-images describing attraction and inversion before it, the compositional signs come together and find their common origin. The former designates a general sign of composition named destiny.
While Deleuze does not go on to divide this general sign of composition into its full molar and secondary attributes, a division will here be assumed to describe a difference in degree and — following the example of the dream-image with its rich and restrained forms — similarly adopt strong and weak forms: strong destiny and weak destiny. Deleuze writes: "with recollection-images" and "dream-images" the "former still come within the framework of the sensory-motor situation" and "the latter […] project the sensory-motor situation to infinity"; thus "we do not, in this way, leave behind an indirect representation [of time, movement-images], even though we come close".
Bergson, Henri . Matter and Memory. New York: Zone Books. Deleuze on Cinema. Edinburgh: Edinburgh University Press. Cinema 1: The Movement Image. Cinema 2: The Time Image.
Philosophy Film theory. Le scaphandre et le papillon. Despicable Me movies. Le quattro volte. The Human Centipede. Harry Potter and the Deathly Hallows. The Killer Inside Me. Marxism Today Prologue. Made in Dagenham. Figures reflection-images, or, transformation of forms. Attraction-image 1st reflection-image 6th mental-image.
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The Wayward Cloud. Scott Pilgrim vs. Mise-en-abyme [d]. Inversion-image 2nd reflection-image 5th mental-image.
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The actions of the character overwhelm the givens of the situation, a mad enterprise. Quotidian [e]. Un homme qui crie. Discourse-image 3rd reflection-image 4th mental-image. The situation articulates a question, only once the question and answered can the character act. The film develops a narration where the coordinates of a question will be left unanswered. Brooklyn's Finest. Limit of action [f]. A whole world of problems, the universe expressing intensive indeterminate forces. Dream-image from Cinema 2 [h] 3rd mental-image.
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