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Image: Diffraction Grating. https://commons.wikimedia.org/wiki/File:Diffraction_Grating.jpg
GillesDeleuze's'theBrainistheScreen'inDigitalCulture
LouiseMazet
Studentnumber:387740
DoubleDegreewithPhilosophy
DepartmentofPhilosophy
ErasmusUniversityRotterdam
Supervisor:Dr.SjoerdvanTuinen
Advisor:Dr.HenriKrop
11.25ECTS
31July2018
Wordcount:12286
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ContentsIntroduction........................................................................................................................... 3 1. Cinema .............................................................................................................................. 6 Movement................................................................................................................................................7
Time.......................................................................................................................................................10
2. The Brain is the screen? .................................................................................................. 13 Plasticityofthebrain........................................................................................................................13
Betweenbrainandscreen:‘is’........................................................................................................15
3. Through the screens ........................................................................................................ 21 Nomadism............................................................................................................................................25
Diffraction............................................................................................................................................29Conclusion .......................................................................................................................... 34 Bibliography ........................................................................................................................ 37
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Introduction
InWhatShouldWeDowithOurBrain?CatherineMalaboudiscussesdifferentmodels
thatareusedtounderstandthebrainandevaluatesthemintermsofplasticity,the
abilitytomold.1Rejectingthemetaphorsthatdepictthebrainasifitisamachine,
centraltelephoneexchangeorcomputer,shefindsthatDeleuzeoffersatakeonthe
brainwhichallowsforandisevendeterminedbytheplasticityitactuallypossesses.For
him,thebrainisanacenteredsystemcharacterizedbyitscutsandgaps.2Furthermore,
accordingtoMalaboutheplasticityofthebrainisalsothe“realimageoftheworld”.3
Thismeansthatalthoughwemightnotseeit,weexperience(brain)plasticityhereand
now.Theworlditselfisthusactuallyplastic,itcanbeshapedandcreatedinwayswe
havenotyetimagined,butaswearenotawareofitwemissoutongreatpotentialfor
change.MalabougivesexamplesofDeleuze’scinematicunderstandingofthebrain,but
alsooffilmsbyAlainResnaisandStanleyKubrick,whichhelptodemonstratethe
plasticityoftheworldanditsrelationtoourbrain.4
ThiswasthefirstacademicconnectionIencounteredbetweenfilm(art),
(neuro)scienceandphilosophyanditwasgrippingenoughformetodelvefurtherinto
thiscomplexinterdisciplinarymatter.Presently,IwillfocusonDeleuze’sfamous
statement“lecerveau,c’estl’écran”5(thebrainisthescreen).Thisintriguingsentence
waspublishedinaninterviewwithDeleuzeinCahiersduCinémainFebruary1986
whendiscussinghisbookCinema2:TheTime-Image.
The brain is unity. The brain is the screen. I don’t believe that linguistics and
psychoanalysisoffera greatdeal to the cinema.On the contrary, thebiologyof the
brain—molecularbiology—does.Thoughtismolecular.Molecularspeedsmakeupthe
slowbeingsthatweare....Thecircuitsandlinkagesofthebraindon’tpre-existthe
stimuli,corpusclesandparticlesthattracethem....Cinema,preciselybecauseitputs
theimageinmotion,orratherendowstheimagewithself-motion,neverstopstracing
thecircuitsofthebrain.6
1CatherineMalabou,WhatShouldWeDowithOurBrain?,1sted,PerspectivesinContinentalPhilosophy(NewYork:FordhamUniversityPress,2008),6.2Malabou,36.3Malabou,39.4Malabou,38–40.5GillesDeleuze,‘TheBrainIstheScreen:InterviewwithGillesDeleuzeon“TheTime-Image”’,trans.MelissaMcMuhan,Discourse20,no.3,(1998),http://www.jstor.org/stable/41389498.6Deleuze;AsquotedinPatriciaPisters,TheNeuro-Image:ADeleuzianFilm-PhilosophyofDigitalScreenCulture,CulturalMemoryinthePresent(Stanford,California:StanfordUniversityPress,2012),3.
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ThispassagereliesgreatlyonDeleuze’sphilosophicalworkonfilm,brainandworld,
andparticularlyonhistwoCinemabooks.Forhimcinema,scienceandphilosophyare
intrinsicallyconnected.Thisframeworkofthebraininfilmandfilminthebraincould
allowforthemuch-neededplasticitythatMalaboudiscussesandwhichotherbrain
metaphorslack.However,itdoesneedsomeelaborationandsinceover30yearshave
passedsinceDeleuzegavethisinterview,itisalsorelevanttore-contextualizeitwithin
today’ssocietyanditstechnologicalenvironment.
PistershasdonethisrecentlyinherbookTheNeuro-Image,whichoffersan
enlighteningtakeontheconnectionbetweenthephilosophy,filmandscience.7Notonly
doesshediscussDeleuze’sideasoncinema(themovement-imageandthetime-image)
andtheirrelationtothebrain,butshealsobringsforwardathirdtypeofimage,namely
theneuro-imagethatcharacterizescontemporarycinema.Sheseesthisasathird
dimensionoftheimages,justlikethetime-imagewasalsoadimensionofthe
movement-image.Furthermore,Pistersconceptualizesthethreedimensionsaccording
tothethreesynthesesoftime,aspast,presentandfuturerespectivelyandinsiststhat
onedoesnotexcludetheothers.8Althoughmanycharacteristicsoftheneuro-image
seemtoalsocorrespondwithDeleuze’sdefinitionofthetime-image,thequestionisnot
necessarilyifthisimage-typeisjustified,butratherhowthenewlyemergedneuro-
imageimpactstheconnectionbetweenbrainandscreenasDeleuzeoriginally
formulatedit.Therefore,thequestionIaimtoanswerinthisthesisisthefollowing:
Whatistherelationshipbetweenbrainandcinemaindigital(screen)culture?
Itisimportanttonotethatthisthesisdoesnotdealwiththedirecteffectsofdigital
cultureonthebrain.Insteadthefocusisonthepotentialfutureofcinemaindigital
screenculture,asIwillarguethatthishasanimpactonits’soul’,andthedeep
connectionofcinemaingeneraltothebrain.Inordertoanswerthis,Iusethetheories
ofDeleuze,MalabouandPistersasguidingconceptsthroughout.
Inthefirstpart,Ielaborateonthespecificchoiceoffilm.Inwhatway,according
toDeleuze,isitdifferentfromothermediaorartforms?Whataremovement-andtime-
images?InthesecondpartIproceedtodissect‘thebrainisthescreen’.Howshouldwe
7Pisters,TheNeuro-Image.8Pisters,137–38.
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understandthebrain?Whatexactlydoesthisequivalencemean?Finally,inpart3I
discusshowtheDeleuziannotionofthescreenappliesnowthatweliveinaworld
dominatedbytechnologywithscreens?Iexplainanddiscusstheconceptsofnomadism
anddiffractionandtheirapplicationtocontemporarycinemainthehopeofshedding
morelightonthestatusoftherelationshipbetweenbrainandscreenindigitalscreen
culture.
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1.Cinema
InhisbooksCinema1:TheMovement-ImageandCinema2:TheTime-Image,Deleuze
analyzespre-andpost-WorldWarIIcinemarespectively.9DrawingHenriBergson’s
theoriesonperception,Deleuzediscussestechnicalaspectsthatmarkdifferentperiods
inthehistoryofcinemaandtherebyobtainsaclassification.Deleuzeinsiststhatthe
booksarenotmeantasahistoryofcinema,butasataxonomy.Theyshouldberegarded
asanexplicationofatemporalcharacteristicsofcinema(somearemorepronouncedat
certaintimes)andcertainlynotashistoricalcategories.However,PaolaMarrati,who
haswrittenaclarifyingworkonDeleuze’stheoriesoncinema,remarksthatthe
historicaleventofWorldWarIIdoesmarktheswitchfromthemovement-imagetothe
time-image.10Sheexplainsthisseemingcontradictionbyinterpretingthepost-warera
asatimewhereourconceptionofhistorydifferscruciallyfrombefore.Thisreferstothe
notionthatbothimage-typesmustbeseenmoreasco-existingregimes,whereoneis
moredominantthantheother,ratherthanasseparatesuccessiveperiodsintime.The
time-imagethusexistedalreadybeforeWorldWarII,butthemovement-imagewas
dominantinfilmatthattime.Afterthewar,somethingchangedandconsequentlythe
dominanttendencyincinemadidaswell.
InCinemaandPhilosophy,MarratistressesthatDeleuze’saimwiththecinema
booksistograspthe“singularessenceofcinema”,11thequalitywhichdistinguishesit
fromotherartsorsciences.ItisimportanttonotethatDeleuzeanalyzestechnical
aspectsoffilmtodefineacategoryandnotthenarrative.ForDeleuze,narrativeisnota
maincharacteristicofimages,becauseitonlyensuesfromthecompositionofeither
movement-ortime-image,12inwhichmontage,frameandshotplayacrucialpart.
AccordingtoDeleuze,imagesneedtoberead.However,thisdoesnotmeantheyare
equivalenttolanguage.Forhim,usinglinguisticsisnottheproperwaytoreadthemand
heinsistscinematographicimagesneedtheirownconcepts.13Inordertobeableto
grasptherelationshipbetweenbrainandcinema,itisimportanttoexplainthisessence
9 Gilles Deleuze, Cinema I: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam, Paperback edition, Cinema 1 (London ; New York: Bloomsbury Academic, 2013); Gilles Deleuze, Cinema II: The Time-Image, trans. Hugh Tomlinson and Robert Galeta, Paperback edition, Cinema 2 (London ; New York: Bloomsbury Academic, 2013). 10PaolaMarrati,GillesDeleuze:CinemaandPhilosophy(Baltimore:JohnsHopkinsUniversityPress,2012),65.11Marrati,5.12Marrati,48.13Marrati,21.
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ofcinemaanditsconceptshere.Thepossibilityofsucharelationship(inwhichDeleuze
himselfobviouslybelievedwhensayingthat‘thebrainisthescreen’)givesawaythat
cinemamusthavesomethingspecialthatdemarcatesitfromotherimages,artforms,
media,scienceorindustries.
Movement
Whenitfirstwasintroduced,cinemawasconsideredtobe“neitherartnorscience”.14
Eventuallycategorizedasclosertoart,albeitapopularizedandaccessibleformofit,
cinemawasmoreambiguousinitsbeginningsduetoitsinnovativeindustrialcharacter
andusefortechnicalstudiesofmovement.15Thesecharacteristicscanstillapply,as
cinemaretainsatightbondwithtechnologyandcommercialaswellasindependent
workshavethemeanstorespondartisticallytothesocietytheyarecreatedby.16Asan
artform,cinemaismodernandaccessible,differingthefromtheclassicalartsduetoits
reproducibility,thereforeremainingan“industrialart”.17InhisfamousessayTheWork
ofArtintheAgeofMechanicalReproduction,WalterBenjamindiscusseshowfilmand
photographydistinguishthemselvesbytheirmechanicalreproduction.18Forhim,filmis
anart,however,itsfunctionhaschangedincontrasttopreviousartforms.Insteadof
beingdefinedbyacultvalue,rootedinritualsandreligion,theexhibitionvaluehas
takenoverandthisisincreasedbyitseasyreproduction.Toseeafilm,onedoesnot
havetogotoaspecificplacelikeamuseumanymore,wherethereisauniqueoriginal
workofartondisplay.Instead,filmscanbeseenincinemasallovertheworld(thisis
whatBenjaminrefersto),butnowadaysfilmisalsoreproduceddigitallywithDVD’sor
ontheInternet.Thefactthatfilmissowelladaptedtogainingthemostviewsmeans
thatithasahighexhibitionvalue.
ForDeleuze,whatdifferentiatescinemafromother(mechanicallyreproducible)
artformsisitsmovementinimages.Thisisnotjustanytypeofmovement,but
movementbetweenframes,anessentialpartforcreatingcontinuity.19Othervisualart
formsalwayscreatesomethingstatic.Evenifitisanimageofmovement(likeapicture
14 Deleuze, Cinema I, 7; Marrati, Gilles Deleuze, 9. 15 Deleuze, Cinema I, 6. 16 Pisters, The Neuro-Image, 7. 17 Deleuze, Cinema I, 7. 18WalterBenjamin,‘TheWorkofArtintheAgeofMechanicalReproduction’,inTheContinentalAestheticsReader,ed.CliveCazeaux(London ;NewYork:Routledge,2000),323.19Marrati,GillesDeleuze,8.
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ofapersonrunning),itisnotamovement-image,becausetheimageremainsstill.20
Theatrewouldseemlikeanexception.However,itcannotvaryinframe,shotor
montage,meaningthatalthoughtheimagesareinmovement,theartformremains
attachedtooneperspectiveandmovementdoesnotemergeinthesame‘independent’
way.21Inournaturalperception,wearealsoconfinedtoourperspectiveandtherefore
whatmakescinemasospecialisthatitreleasesmovementfrombeingattachedtoour
ownbody,andcreatingmultipleperspectivesatonce.Inthissense,“cinema’s
particularityistoproduceimagesthatareirreducibletothemodelofsubjective
perception”.22Duetothisindependenceofcinematicimagesinrelationtothesubject,
wecanexpectthemtobemorethanmererepresentations.Instead,throughits
movementanditsplasticity,cinemaparticipatesina“becomingdifferent”23ofthe
worldintoimage.
Thepreviouslymentionedconceptionofhistoryasanarrativerelyingonhuman
agencyisoneofthedefiningfeaturesofmanymovement-images,intheformofthe
actionimage.InDeleuze’sfirstCinemabook,frame,shotandmontageofclassiccinema
arebrokendownandconceptssuchasaction-image,affection-imageandperception-
imageexplained.Whileaffection-imagesshowinternalfeelings,action-imageshavethe
character(s)changeasituation.Perceptionimagesshowhowacharacterperceivesand
isperceived.24AccordingtoDeleuze,montageisthecombinationofthesethreetypesof
images.25Thecinematographicaspectsofimagesdefinethetypeofimagetheycreate.
Forexample,MarratidiscussesAmericanorganicmontage,widelyusedinearly
Hollywood,wherethemontageformstheimagesintoanassemblage,likeanorganic
whole.26Thisisanactivetypeofmontage,meaningthatthemontageleadsthefilmtobe
drivenbyactionsofpeople.Onthelevelofshots,filmslikethisareprimarilyconstituted
ofmediumshots,atypeofshotwherebackgroundandcharactersareaboutequally
visible,similartomuchofourday-to-dayperceptionoftheworld.27However,thisdoes
20Marrati,7.21Marrati,24.22Marrati,3.23CliffStagoll,‘Becoming’,inTheDeleuzeDictionary,ed.AdrianParr,Rev.ed(Edinburgh:EdinburghUniv.Press,2010),25–26.24DavidDeamer,Deleuze’sCinemaBooks:ThreeIntroductionstotheTaxonomyofImages(Edinburgh:EdinburghUniversityPress,2016),29.25Deleuze,CinemaI,70.26Marrati,GillesDeleuze,46.27Deleuze,CinemaI,70.
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notexcludeperception-images(longshots)andaffection-images(close-ups)fromthe
film.Allarepresent,butoneisalwaysdominant.Althoughfilmsthataredominantly
perception-imagesoraffection-imagesalsoexistinpre-warcinema,theaction-imageis
clearlyprevalent.28ThisispartlyduetotheenormousinfluencesofGriffithand
Eisensteinwhowerepioneersinactivemontage.
TheSecondWorldWarmarksaturningpointforcinemaandtheemergenceofa
newtypeofimage.Asalreadyindicated,Deleuzebelievesthatthisisnotanewhistorical
eraofcinema,butmoreaswitchinperception,wherehistorythatwasdefinedby
humanactionisreplacedbyconceptsofbecomingandtheevent.Thenotionofa
universalhistory,onecoherentnarrationofthepastapplicabletothewholeworldbut
basedonhumanagencyasdescribedpreviouslybyHegel,29nowfadesawayafterthe
inexplicablehorrorsofWorldWarII.30ThisdevelopmentisinlinewithBenjamin’sidea
thatperceptionchangeswithhistoryashewrites:
During longperiods of history, themode of human sense perception changeswith
humanity’sentiremodeofexistence.Themannerinwhichhumansenseperceptionis
organized,themediuminwhichitisaccomplished,isdeterminednotonlybynature
butbyhistoricalcircumstancesaswell.31
Humanperceptionthereforechangedwithmechanicalreproduction,killingofftheaura
ofart(thespecificdistanceneededtoexperienceitssingularity),32butcinemaitselfalso
affectsperception,sinceitisdependentontechnology.Asdifferenttypesofimages,
includingdifferingmontages,shots,frames,emergewithadvancesintechnology,the
waywelookatthemandtheworldalsochanges.Contemporaryexamplesarethree-or
evenfour-dimensionalmovieexperiences,butalsotherecenttrendofvirtualreality,all
ofwhichchangeourperceptionliterallyalongwiththetechnologies,sincetheyarethe
mediumforit.ForDeleuze,however,technologyisnottheessenceofcinema.
Technologysimplymakescertaincharacteristicsofitemergemoreprominentlythan
others,butfundamentallytheaestheticsofcinemaarevirtual.33Thisiswhyheprimarily
28Marrati,GillesDeleuze,54.29GeorgWilhelmFriedrichHegel,PhenomenologyofSpirit,trans.A.V.Miller(MotilalBanarsidassPublishers,1998),17.30Marrati,GillesDeleuze,65.31Benjamin,‘TheWorkofArtintheAgeofMechanicalReproduction’,325.32CliveCazeaux,ed.,TheContinentalAestheticsReader(London ;NewYork:Routledge,2000),300.33Deleuze,CinemaII,274.
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discussesdifferentcategoriesofimages,forinstanceaction,perceptionandaffectionin
themovement-image,andnotnecessarilytheirsupportingstructures.Bycreating
action,perceptionandaffectionfortheviewercinemashapesspectatorship,influences
oursubjectivityandthuschangesourperception.34AccordingtoDeleuze,cinemadoes
notreproducethereality,butrendersvisiblewhatwouldnotbeotherwise.35Itcreates
somethingnewandchangesperceptionby“undoingthatwhichourhabits,needs,and
lazinesshavedone,inordertomakevisible[…]theperceptions,affectsandrelationsof
thoughtthatcinemaitselfwasabletocreate.”36
Time
AfterWorldWarII,cinemafellintoacrisisandtheroleoftheimagechanged.The
setbackoftheAmericandream,thelargeuseofcinemaduringthewaraspropaganda,
andtheoverloadofimageswereallfactorsthatcontributedtothischange.Italian
neorealismemergedwhere,characters’(re)actionswerenolongerwhatdrovethefilm.
Insteadtheirenvironmentexistedregardlessofwhattheydidordidnotdo.AsMarratti
explains,theeventsofthewar“toreapartconfidenceinhumanaction:wenolonger
believethatanactioncanhavebearingonaglobalsituationorunveilitsmeaningeven
inpart;wenolongerbelieveinhumanbecomingoftheworld.”37
Withoutthenotionofuniversalhistorycinema’sspaceandtimeareaffected.
Spaces,suchasdemolishedpost-warcitiesseemdisconnectedandempty,hardto
describeanddifficulttoreactto.Consequently,theaction-imagelosesitsdominant
positionandinstead,“timeisnolongersubordinatedtomovement,butrather
movementtotime”.38Thismeansthatfilmsarenotsomuchfocusedanymoreonthe
actionsofthecharacters,butratherthattime‘happens’,nomattertheactionornon-
actionofcharacters.Therefore,timebecomesthefocusoftheimage,andnewwaysof
displayingitonscreenaredeveloped.Aneventofthetime-imagecanexistinmultiple
timestructuresandconcealedelementsoftimearevisualized.39Thetime-imagealso
exploresthenon-chronologicaldimensionsoftime,creatingacinemathatmakesthe
34Pisters,TheNeuro-Image,31.35Marrati,GillesDeleuze,38.36Marrati,41.37Marrati,63.38Deleuze,CinemaII,x.39Deleuze,xi.
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viewerthink.40Examplesoftypicaltime-imagesthatDeleuzediscussesarefilmsby
Resnais,Antonioni,Ozu,GodardandTarkovsky.Inthesefilms,theactualandvirtualare
crystallized,showingtimethatisunlinkedfrom(bodily)movementmoredirectlyand
thereforelessorganicallythanbefore.41
Themovement-imageisrootedinhabitsofthepresent,basedonsensory-motor
action.42Thetime-imagehowever,issimultaneouslyinthepast/futureandinthe
present,oratleastbelongstoboth.Asaresult,thepresenthasbecomeadimensionof
thepast.43Sinceanobjectisnownotonlylinkedtoaction(notsensory-motor),an
opticalandsoundimageemerges,whichtouchesuponthesubjectivityoftimeitself,
whichnowhasbecomeouronlysubjectivityaswehavenomoreindividualagency.44
Thisimagehighlightsitsownactualandvirtualdimensions.Theactualimagehere
meansthe‘thing’existinginthepresent,suchastheprojectiononthescreen,whilethe
virtualimagepointstoitspastthatexistsatthesametime.45Byblurringthese
categories,thetime-imagecanbeperceivedasconfusing,fragmented,circular,
repetitious,different…Theconfusionarisesbecausesomeaspectsseemparadoxical.
Whatthetimeimagedoesis,inasense,breakingdowndichotomieswebelievedtobe
clear-cut.Itlinkstheactualimage(the‘thing’existinginthepresent)andvirtualimage
(thepresents’simultaneouspast)inacircularway.46Theprojectionofanimagewesee
onascreeninthepresentnowrelatesdifferentlytoitsvirtuality,itsintangible
happeningasan“incorporealevent”47anditspast/future.Thetime-imageisthusmore
closelylinkedto(virtual)thoughtthantoaction,asittouchesdirectlyupontheviewer’s
subjectivityinatemporalorspiritualway.48
ItisimportantatthispointtostressDeleuzeisopposedtoregardingcinematic
imagesasrepresentations(ofrealityforinstance).Athingisnotsimplyduplicatedon
thescreen,buttheimageisitselfathing,openingupnewtemporaldimensionsand
40Marrati,GillesDeleuze,76.41GregoryFlaxman,ed.,TheBrainIstheScreen:DeleuzeandthePhilosophyofCinema(Minneapolis:UniversityofMinnesotaPress,2000),26.42Pisters,TheNeuro-Image,137–38.43Pisters,138.44Marrati,GillesDeleuze,76.45Marrati,71.46Marrati,71.47ConstantinBoundas,‘Virtual/Virtuality’,inTheDeleuzeDictionary,ed.AdrianParr,Rev.ed(Edinburgh:EdinburghUniv.Press,2010),300.48Marrati,GillesDeleuze,72.
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mentalstatesthatamererepresentation(orreflection)couldnot.49Whatgoesoninside
themindisrelatedtotheoutside,butnotanexactreflectionofit.Infact,thereisno
suchboundarybetweenthementalandthephysicalworld,because“memoryand
thoughtarenotonlypsychologicalrealities‘inside’ourminds,orbrains:theyexist,or
insistintime”.50
49Deleuze,‘TheBrainIstheScreen:InterviewwithGillesDeleuzeon“TheTime-Image”’,53.50Marrati,GillesDeleuze,72.
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2.Thebrainisthescreen?
Deleuzebelievesinthespecificityofcinema,meaningthatcinemadiffersfromotherart
formsandothertypesofmedia.Whenheexpressed‘thebrainisthescreen’inthe1986
interviewtoCahiersduCinema,thishardtograspsentenceepitomizedhisworkon
cinema.Apparentlyforhimcinemaisthusmorecloselytiedtoourbrainthananyother
art.Itisthereforeimportanttounderstandproperlyinwhatwayexactly,whichiswhatI
willdelveintointhissection.
Inordertofathomhowthebrainisthescreeninacontemporarycontext,Iwill
useMalabou’sideasonplasticityandalsorefertoPisters,whointroducesathirdimage-
typeinadditiontoDeleuze’sdistinctionbetweenmovement-imageandtime-image:the
neuro-image.51Pistersspeculatesthatifthemovement-andtime-imagearelinkedto
specificactivityareasofthebrain,theneuro-imagecouldbelinkedtootherareas.The
neuro-imageischaracterizedby,amongotherthings,closetiesneuroscientificbrain
processesandanomnipresenceofmediascreens.52Thesetwoaspectswillbediscussed
belowthroughoutbrainandscreen.
Plasticityofthebrain
AsPistersexplains,Deleuze’sviewsoncinemaarecloselylinkedtobrainprocessesand
neurologicalknowledge.53Whenstating“Thoughtismolecular,therearemolecular
speedsthatmakeuptheslowbeingthatweare.[…]Thecircuitsandlinksofthebrain
donotpre-existthestimuli,granulesorcorpuscleswhichtracethem.”54,Deleuzeoffers
ushistakeonthemind-bodyproblem.Thebrainisnotafixedphysicalentityimbued
withourthoughts(orsoul)andthereisnorealseparationbetweenthoughtandbrain,
becausebothinfluenceeachotherinadeeplyintrinsicway.Brainandthoughtarenot
elementsindifferentcategoriesandmaterialandimmaterialarenotseennecessarilyas
separateanddichotomous.
Malabousharesthisviewonthebrain.Morerelevantly,forherthequestionis
notaboutmonismordualismnecessarily.Rather,sheinsiststhatweshouldbecome
consciousofthebrain(thequestionthenshiftingto‘whatshouldwedowithit?’).Asshe
explains:“Thebrainisaworkandwedonotknowit.Weareitssubjects–authorsand
51Pisters,TheNeuro-Image.52Pisters,2–3.53Pisters,3.54Deleuze,‘TheBrainIstheScreen:InterviewwithGillesDeleuzeon“TheTime-Image”’,48–49.
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productsatonce-andwedonotknowit.”55Callingthebrain‘awork’referstoits
continuousdevelopment,thewayitchangesovertime,likeaworkinprogress.This
workisthereforedefinedbyitsplasticity.Thereasonwedonotknowofthis
developmentalcharacteristicisthatwetakeitforgranted.Likeourhabits,brain
plasticityissoengrainedinusthatwepaynoattentiontoit.Theconceptofplasticity
entailstheabilitytogiveandreceiveform.56Thisprocessiscontradictory,becauseit
resultsincreationanddestructionsimultaneously.57WhenDeleuzestatesthatthebrain
doesnotpre-existthestimuli,thisisexactlywhatherefersto.Thebrainisconstantly
shapedbytheimpulsesthatitreceives,butatthesametimealsoplaysanactive,
formativerole.Neuronalconnectionsaremade,modifiedandrepairedwhennecessary,
allduetothebrain’splasticity.58
However,plasticityisnotonlysomethingdistinctiveofthebrain.Wearenot
consciousofourbrain’scapacitytomold,becausethatsameplasticityisalsoallaround
us,sowedonotnoticeit.59Theworldcanbeconfigured(thinkofenvironmental
impactsbyhumans),butweseemtotakethisforgranted,untilitistoolate.Inorderto
understandplasticitymoreprecisely,itiscrucialheretodistinguishplasticityfrom
relatedconceptssuchasrigidity,elasticityandflexibility.Rigidityistheoppositeof
plasticity,somethingrigidisfixedandcannotchangeitsform.Previousconceptionsof
thebrainallreliedonfixedstructuresandwhichcouldnoteasilychangeformandthis
rigidityiswheretheymisconstruedit.60Elasticityontheotherhandiscloserto
plasticity,butdiffersbecause,whileelasticityalsocauseschangeinform,italways
returnstotheoriginal.Plasticityismoresolidthanthat,inthesensethatitretainsits
newformandcannotnecessarilygoback.61Finally,flexibilityisthenotiondeceivingus
fromtrueconsciousnessofplasticityaccordingtoMalabou.62Whiletheworldaroundus
isplastic,weimposeonitasystemof(neoliberalist)flexibility.Butflexibilityisonlya
smallpartofplasticity.Itisapassivestate,inthesensethatonechangestoadapt
insteadofcreating.63Thetwoareoftenconflatedhowever,andflexibilitydominatesin
55Malabou,WhatShouldWeDowithOurBrain?,1.56Malabou,5.57Pisters,TheNeuro-Image,342-343n2.58Malabou,WhatShouldWeDowithOurBrain?,17.59Malabou,9.60Malabou,4–5.61Malabou,15.62Malabou,9.63Malabou,12.
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society.Inneoliberalcapitalistsociety,officemanagementstructuresforinstanceare
followingthedevelopmentofneurologicalfindingsandarenowbecomingmore
decentralizedandhorizontalthanever.64Theindividualislefttothemselves,fully
responsibleforeveryactionandexpectedtoadapttoeverysituation.Intheneuro-
image,weoftenseeimagesofunusualbrainplasticity,unabletoadapttoflexibility.65
Neuro-imagesdealwithmentalinstability(powersofdelirium),itisunclearwhatisreal
orillusion(powersofthefalse)anddeepsensationsareprovoked(powersofaffect).All
oftheseareattributesthatarenotcompatiblewiththenotionofneoliberalistflexibility,
astheyareinasenseirrationalandirresponsible.
Themisplacedfocuson(rigid)flexibilitywhichisdiscussedbyMalaboucomes
partlyfromtheneurosciences,whichtendtodescribethebraintoomuchinthisway,
makingiteasytomisinterpretthemeaningofplasticity.Allthewhilehowever
capitalismproducesthesameflexibilityreinforcinginturntheneuroscientific
descriptions.Neuroscienceshaveuncoveredplasticityand,inthisregard,alsoholda
potentialpowerofresistancetoflexibility.However,sincetheytaketheirinspiration
fromworldphenomena(suchasmachines,algorithmsormanagementstrategies),66
theythusposenorealdangerforthecapitalistneoliberalsystem,exactlybecausethey
functionwithinit.Assuch,capitalismcontinuestoenforceamandatoryflexibilitythat
isproductivewithinitsstructure,butthisflexibilityisalsodestructivesincealotof
(plastic)potentialisdiscarded.Itisthismechanismthatprohibitsustounderstandthe
potentialofthebrain,ourpotentialfordifferenceandcreation.AccordingtoDeleuze
thisdynamiccanonlybetrulyresistedthroughart.67Indeed,manyfilms,andespecially
neuro-imagesuncoverthemadnessofbrainandworld,sometimesevendemonstrating
thatitisnotworthlesstobe“unemployable”68inneoliberalisttermsandthatunleashing
plasticitycanactuallygivegreatpower.
Betweenbrainandscreen:‘is’
ForMalabou,notonlythebrain,butalsotheworldhasplasticpotential.However,with
thedominanceofflexibilityweareblindtoit,andthereforealsoblindtoourownbrain
64Malabou,42–44.65Pisters,TheNeuro-Image,42.66Malabou,WhatShouldWeDowithOurBrain?,53.67Pisters,TheNeuro-Image,7.68Malabou,WhatShouldWeDowithOurBrain?,68.
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capacities.Inthesamewayasshediscussestheworldingeneral,Deleuzediscussesthe
screenwhenhesays:“thescreen,thatistosayourselves,canbethedeficientbrainofan
idiotaseasilyasacreativebrain”.69Thescreenthereforehasacertainpotentialfor
creationthatcanalsobeleftunused.AccordingtoDeleuze,thisisthecasewith‘bad
cinema’whichsimplyfollowsthebrain(andscreen)circuitsthatarealreadypresent.
Ourbrainknowswhatweseebecausewehaveseenitbefore,itissimplya
representationofit.
Inturn,goodor‘true’cinemadoesworklikeacreativebrain.Itcantouchupon
themesmoredeeplyandthereforealsoreachesus(andourbrain)differently,creating
newpathsinsteadofsimplyfollowingthem.70Itisexactlythisuniquenesswhich
DeleuzeexplicatesinhisCinemabooks.Movement-andtime-imagescan,through
practicessuchasmontage,showwhatwecannotusuallysee(movementandtime)and
thereforehavethepowertomoveusdifferentlythanrepresentations.Inasense,what
heseemstomeanisthattruecinemaitselfhasalotofplasticityandthiscapacityto,
throughitsartificialcircuits,developourseemingly‘natural’waysofdoingandthinking
isthereasonwhyitissocloselylinkedtoourbrain.Boththeplasticfilmscreenandthe
plasticbrainarepartoftheworldandthereforehavepowertoformit.71Sinceweare
cloudedbythenotionofflexibility,wemusthopethatwecanbetriggeredthroughthe
screen,andthusthroughourownbrain.Inthisway,cinema’splasticitycanhaveits
impactontherestofsociety.
Thefactthatcinemashapesus,andhasarealeffectonourbrainstructure,
becomesclearinPisters’discussionofmirrorneurons.72Theseareneuronsthatare
activatedwhenweseesomeonedoingsomething.Ourneuronssubsequentlymimicthe
pathswhichtheneuronsoftheobservedpersontakewhenperformingthataction,
causingourbraintoduplicatetheperceivedactionorfeeling.Theneurological
connectionsforobservingarethussimilarlyusedforaction.Thismechanismworksjust
aswellwhetherthepersonwhodoessomethingisinfrontofusoronascreen.The
reasonwedonotgoaroundimitatingeverythingisthattheactualactionissomewhere
stoppedbythebrain.Inthissensethebrainitselfworksasascreen,filteringstimulithat
haveentereditandproducingresponsesthatdonotdirectlyrepresentwhatwesee,
69Deleuze,‘TheBrainIstheScreen:InterviewwithGillesDeleuzeon“TheTime-Image”’,49.70Deleuze,49.71Malabou,WhatShouldWeDowithOurBrain?,39.72Pisters,TheNeuro-Image,30,116–21.
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althoughsometimeswemightnotbeabletohelpourselvesfromyawningorsmilingtoo
whensomeonedoesthis.However,evenifwedonotusuallymimic,wedo‘feel’withthe
actionsonthefilmscreen,creatinganewtypeofresponseratherthanacopy.Whatwe
seeaffectsusinasimilarwayasifweweretoexperienceit.Thismechanismisfurther
proofthatimagesarenotmererepresentationsandcanactuallyhaveaffectivepower,a
stancethatDeleuzedefendsaspreviouslyexplainedinpart1.
Consequently,itbecomesclearthat‘thebrainisthescreen’doesnotmeanthat
onerepresentstheotherorviceversa.Thebondbetweenthemismorethanasimple
reflectionoridentity,butratherreferstoatypeofcocreation,asharedplasticityanda
potentialto“formanddeformintotheworld”.73Spectatorshipisthusnotapassivestate
andimpliesabecoming(acreationofdifference)aswell,atleastinneurological
terms.74Therefore,thescreenisnota‘shield’betweentheworldandourmindanditis
situatedneitheroutsidenorinside.75Insteaditspositionisbothinaswellasout,making
itinherentlycontradictitself.Thiscontradictionaidsindeconstructingthedichotomy
betweeninsideandoutside.Deconstructionisaformofcritiquing(language)structures
wetakeforgranted,suchasbinaryoppositions,andwasoriginallycoinedbyDerrida.76
AsCazeauxexplains,thoughtboundariesarealways“indivisiblefromthekindsof
boundaryweencounterinvisualexperience”.77However,thesometimes
indeterminablenatureofsensoryexperiencesmakesitmoreapparentthatbinariesdo
notalwaysholdupthewaywebelievethemto.Thisiswhatthescreendoesinthiscase
withitsambiguous‘placement’,andwhatcinemafurthercarriesonregardingmindand
bodyorvirtualandactualforinstance.
Justasthescreeninfluencesanddeterminesthebrain,thebrainalsodetermines
thescreen.AsPistersnotes,thebrainis“acontinuouslychangingprocessandtherefore
fundamentallyconnectedtomovementandtime”.78Indeed,plasticityisamovement
happeningintime,bringingusbacktoDeleuze’stwoimage-types.WhenPistersargues
fortheneuro-image,shesaysthatcinemahasnowenteredthe‘brainspace’,sometimes
inquiteliteralways.Becauseitisalsocloselyanddirectlylinkedtothebrain,theneuro-
imageissimilartothetime-image.However,theroleofthebrainitselfhasnowblown
73Malabou,WhatShouldWeDowithOurBrain?,72–77.74Pisters,TheNeuro-Image,119.75Pisters,27.76Cazeaux,TheContinentalAestheticsReader,373.77Cazeaux,375.78Pisters,TheNeuro-Image,16.
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upinit.ShegivestheexampleofthefilmFightClub,79inwhichthebeginningtitle
sequencesimulatesarollercoasterridethroughthebrain.Wefollowthecircuitsfrom
theperspectiveofaneuron,makingclear(orhinting)thatthefilmtakesplacefrom
withinthisbrain,thebrainofthemaincharacterplayedbyEdwardNorton.80This
includesseeinghishallucinationsandexperiencingitsmalfunctionsashedoes,andalso
notknowinguntiltheveryendofthefilmthattheywerehallucinationsand
malfunctions.Additionally,thesequencewasfashionedwiththehelpofactual
neuroscientificmappingimageryofthebrain,exemplifyingtheclosenessof
(neuro)sciencetocontemporarycinema.Inthissense,evenmoreobviouslythanbefore,
thebrainisthescreenandthescreenisthebrain,possiblyleadingusclosertothis
recognitionMalabouseeksfor.
Inthemovement-andtime-image,weexperiencecharactersandtheiractions
fromwithin,thedifferencebeingtheimpactoftheseactionsontheworld.Inthissense,
weseethroughthecharacters’eyes.Inaneuro-imagehowever,weseenotthroughthe
eyesbutthroughthebrain,experiencingtheirmentalworld.81Ofcourse,theeyesand
thestimulitheyreceivearecloselylinkedtothebrain,butwhatPistersmeansisthatthe
dichotomousdivisionbetweenbrainandthought(bodyandmind)isnowevenmore
thoroughlydismantledthanwiththetime-image.Time-imagesarecharacterizedbya
switchingfromactualtovirtual,from‘reality’tomentalworld.However,asweembark
intothementalworldinneuro-images,theswitchingitselfbecomesindistinguishable.82
InFightClub,wearenotevenawareofourperceptiveposition(throughthe‘brain’of
thenarrator)untiltheveryendofthefilm,andeventhen,muchisstillunclearofwho
andwhatwasvirtualand/oractual.83
Pistershintsthattherelationshipbetweenbrainandscreenisstrongerwithin
theneuro-imagethantheothertypes,oneofthereasonsbeingthatithasbecomeso
closetothefieldofneuroscience.84Thisseemstoimplyalargerplasticpotentialto
resistthecultureofflexibility.However,formsofresistancearefrequentlyabsorbed
intothesystemaswell,becomingalmostintrinsicallypartofitandmakingtheirtrue
79DavidFincher,FightClub,Drama,1999,http://www.imdb.com/title/tt0137523/.80Pisters,TheNeuro-Image,15–16.81Pisters,14.82Pisters,58.83WilliamBrownandDavidH.Fleming,‘DeterritorialisationandSchizoanalysisinDavidFincher’s“FightClub”’,DeleuzeStudies5,no.2(July2011):286,https://doi.org/10.3366/dls.2011.0021.84Pisters,TheNeuro-Image,127.
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resistanceobsolete.AccordingtoMarks,whohaswrittenaboutdocumentaryfilmsand
theirrelationtothenotionofreality,thisiswhatishappeningtothemental-image.85
Themental-imagefrequentlycomesupindocumentariesandemergedfirstaspartof
cinema’sadaptationwhenthemovement-imagesteppedbackforthetime-imageto
surface.Comingupbetweentheaction-imageandaffection-image,themental-image(an
elementofthetime-imagealsotermedrelation-image)createsimagesoutsideof
sensoryexperience.86Inthisway,mental-imagesareatooltomakeusawareofwhatwe
knowaboutouractions,piercingthroughprevioushabits.Thisawarenessreachesthe
filmitself,inthesensethatitmaybecomeawareofitself.Marksdiscussesthis
reflexivitythroughdocumentaryfilm,whereithasbecomecommonpracticetoinsert
shotsofthefilmingsetupandforthemakertorelatetheirownpositiontothesubject.
Pisterssimilarlydiscusses‘metafilms’(filmsaboutmakingfilms),whichcanevoke
certainfeelingsofdiscomfort,asboundariesbetweenrealityandfictionbecomeblurred
(inasimilarsensetothenarrator’sperspectiveinFightClub).87However,being
reflexiveorbeingametafilmisnotsufficientforafilmtobetruecinema.Marks
mentionshowDeleuze“remarkswearilythattheworldhascometoresembleabad
film;evenreflexivityhasbecomeacliché”.88Thereflexivemental-imageshavebecome
suchabigtrendthattheyarenowcausingcinematostagnate.
Onceacertainformofmental-imageshasbecomeestablished(becomeacliché),
itlosespowerasaformofresistance.Thisalsoimpliesthatitsactualmeaning,notasa
singleact,suchascertainmontagetechniquesorpracticestocreatethem,butasoneof
thephenomenathatletsusfosteracreativerelationwithourbrain,becomeslost.
Althoughmetafilmsandexplicitreflexivityarepartofthemental-image,theyareonly
someofitsmoreobviousexamplesthatappearonthesurface.Pistersnotesthistoo:
“Indeed,fictionandrealityintermingleinstrangewaysintheneuro-image;however,
thisinterminglingoccursnotonlyinmetafilmsbutalsointhewholeofcontemporary
imageculture.”89Truemental-images/neuro-imagesthusdoneedtobesohomogenous
ordirect.Followingthetruepowerofcinema,itcouldshinethroughafilminamore
85LauraMarks,‘SignsoftheTime:Deleuze,Peirce,andtheDocumentaryImage’,inTheBrainIstheScreen:DeleuzeandthePhilosophyofCinema,ed.GregoryFlaxman(Minneapolis:UniversityofMinnesotaPress,2000),199.86Marks,198.87Pisters,TheNeuro-Image,120.88Marks,‘SignsoftheTime:Deleuze,Peirce,andtheDocumentaryImage’,200.89Pisters,TheNeuro-Image,121.
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implicitmanner,leavingourbrainfeelingtingledinawaywemightnotimmediatelybe
abletoexplain(butwhichIhaveexplainedherepreviously).Wecanalreadynoticenow,
whendiscussingsuchmisinterpretationormisuseofaresistantforce,aparallel
betweenthepopularizationofreflexivityinfilmandthatofflexibilitywhichMalabou
writesabout.Bothoriginatefromsomethingpowerfulandcreative,buthavebeen
reducedtoacliché,ahabitthattrapsusinitsways.Thisexamplethusillustrateswell
howthebrainandthescreenessentiallyfacethesameproblems.
Brainandscreenareone,arelationshipthatbecomesmoreapparentwiththe
riseoftheneuro-image.Theirconnectioncanserveasawayofresistingdominant
structures,butresistancecanjustaseasilybecomepartofthesystemtoo.Thequestion
nowariseswhattheneuro-imagecandospecificallytocounteraregimeofflexibility.
Thiswillbediscussedinmoredepthinthefollowingsection.
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3.Throughthescreens
Inmanyregards,Pisters’neuro-imageisanintensifiedtime-image.90Bothhavethe
effectofmakingthevirtualvisible,althoughthetime-imagefocusesonthevirtualityof
filmandtheneuro-imageonthevirtualityofthebrain.91Bothsituatethe‘brainscreen’
betweeninternalandexternal,92butitcouldbearguedthatthetime-imageremains
closertothescreenandtheneuro-imageshiftsfurthertowardsthebrain.Aspreviously
discussed,filmandbrainhaveadeepintrinsicconnection.Whethertheneuro-imageisa
separateorsub-regimefromthetime-imageisaninterestingquestion,certainly
regardingthetaxologicalaimthatDeleuzehadfromthestart.Nevertheless,itisnotvery
relevantforthisthesis.Whatcannotbedeniedhowever,isagreatchangeinthecontext
ofcinema.WhenDeleuzediscussesthefilmscreen,thisisquitecertainlythebigscreen
atthecinema,whichwasprimarilytheplacetoseefilmsbeforeandaround1983and
1985(thepublicationyearsoftheCinemabooks).Today,technologyhasevolved,and
screens/displayshavemultipliedinourlives.Althoughtheyarenotsolelymeantforit,
wenowhavethepossibilitytoseefilmsonTVscreens,smartphonescreens,computer
screens,tabletscreens,smartwatchscreensandmore,nexttothetraditionalcinema
screen.Thisprevalenceofscreensandtechnologiescanbetermeda“digitalscreen
culture”.93Thedigitalcultureallowsfornewtypesofmediatoemergeamongthe
traditionalstructures,whichthemselvesarealsochanging(oftenbeingdigitalized)but
notnecessarilydisappearing.94SimilarlytothephenomenonofWorldWarII,
digitalizationofoursocietycouldbecontributingtoyetanothershiftinperception,and
thereforeitisimportanttore-evaluatecontemporarycinema.
Pistersarguesthattheneuro-imageisrootedinthesignoftimeofthefuture,
whereasmovement-andtime-imageareformedunderpresentandpastrespectively.95
Thisdimensionofthefutureconnectstothevirtualthrough,forexample,aninsistence
oncosmicthemes.Thecosmicispresentinallimage-typesandsignsoftime,butmore
explicitlyanddifferentlyinPisters’image-type.96Whereinthetime-imagetheemphasis
wasontravellingfrompast/presenttothefuture,awayfromhereandnow;inneuro-
90Pisters,136.91Pisters,71.92Pisters,306.93Pisters,6,25,148.94 Pisters, 68. 95Pisters,138–40.96Pisters,148–55.
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imagesweincreasinglytravelfromthefuturebacktothepresent/past,undertaking
journeyswithin,orbacktoourselves.97
Anotherwayinwhichtheneuro-imagefocusesonthefutureisbyposing
questionsaboutthefutureofcinema.98Theneuro-imageisbothapartofandinteracts
withourtechnologicalanddigitalnetworks.Becauseofthis,astrugglearisesforcinema
todefineitsexistence.‘Thebrainisthescreen’,butwhichscreen(s)?Inherbook,Pisters
countersDavidRodowick’sviewthatfilmnowadayssurvivesonlyasinformationandas
‘regular’art,andinsteadarguesthatfilmasfilm(withitsspecificconnectiontothe
brain)isnotdead.However,thetraditionalconceptionofcinemaonthebigscreen
seemstobegone.Therefore,Pisterstermscinemaas‘undead’inordertoillustrateits
relivingthroughthetransmedialityoftheneuro-image.99Inaddition,Andrewnotices
the‘soulofcinema’,bywhichhemeans“whatthecinemaatanygivenmomentpermits
thosedevotedtoittothink”,asbeingonthemove.100Indeed,accordingtoFlaxman,the
screenwhichDeleuzediscussesisnotnecessarilyonlytheonewefindinthecinema.
“‘[T]hebrainisascreen’inthesensethatitisafilterthatextractsitselffromchaos.This
screenisaformofrelation,ofinterchange,ofmutualsynthesisbetweenthebrainand
theuniverse.”101Thefilmscreenisthereforemoredefinedbyitsvirtualitythanits
actualappearance.‘Empty’screenscannotattainthisbondwiththebrainbythemselves.
However,withtheexcessiveproductionofvisualmaterialfullofclichésandrepetitions
incapitalistsociety,itisincreasinglydifficulttodefinewheretofind(andwhatremains
of)truecinema.
AccordingtoDeleuze,cinemaandotherartshaveacertainpowertorespondto
theworldaroundthem.Hetermsthisabilitytoconstantlyrenegotiatetheirrelationship
asa“willtoart”.102Theswitchfromthedominanceofthemovement-imagetothatof
thetime-imagewasapreviousexampleofthis.Somethinghadtochangeincinemain
97PatriciaPisters,‘TemporalExplorationsinCosmicConsciousness:Intra-AgentialEntanglementsandtheNeuro-Image’,CulturalStudiesReview21,no.2(25November2015):6,https://doi.org/10.5130/csr.v21i2.4323.98Pisters,TheNeuro-Image,16.99Pisters,12.100DudleyAndrew,‘TheRootsoftheNomadic:GillesDeleuzeandtheCinemaofWestAfrica’,inTheBrainIstheScreen:DeleuzeandthePhilosophyofCinema,ed.GregoryFlaxman(Minneapolis:UniversityofMinnesotaPress,2000),215.101Flaxman,TheBrainIstheScreen,16.102ElizabethvonSamsonow,‘EgonSchiele:VitalistDeleuzian’,inArtHistoryafterDeleuzeandGuattari,ed.SjoerdvanTuinenandStephenZepke(LeuvenUniversityPress,2017),43;aconceptoriginallymentionedbyRieglasKunstwollen.
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orderto‘keepup’withachangedperceptionoftheworld.Deleuzehimselfalready
speculatesonanotherwilltoartthatwouldcomewithdigitalculture:“electronic
imageswillhavetobebasedonstillanotherwilltoart,oronasyetunknownaspectsof
thetime-image.”103Thisisahopefulperspective,directlycounteredbyarecognitionof
theheavychoiceeveryfilmmakerisfacedwithwhentryingsomethingnew:“Iamafraid
thatallmethodsmayinvalidateallwilltoart,ormakeitintoabusiness,apornography,
aHitlerism…”.104Thewilltoartisthusnotnecessarilyeternalandcanbekilledoffby
subjectiontoforexamplecapitalismorfascism.Aspreviouslymentioned,Deleuze
believesinresistancethroughart,butgenerallyresistanceisnotmetwithopenarmsby
anydominantsystem,oftentimesassimilatedorannihilated.
Backtotheneuro-imageanditsmanyscreens.Howiscinema’strueformof
resistance(itswilltoart)survivinginourworldofscreens?Pisterstellsusthatthe
neuro-imagefollowsacertaindigitallogic,theverysametowhichtechnologiesadhere.
“[The]dominanttemporaldimensionoftheneuro-imageconnectstothelogicofdigital
screenculture.[…]Theneuro-imagemixesandreordersfromallthepreviousimage
regimes,ungroundingandserializingaccordingtoadigitallogic.”105Thisincludesfor
exampledatabaselogic,whichimpliesthatfilmsarestructuredlikeadatabase:(partof)
anopenarchiveoverflowingwithinformationfromwhichfragmentscanbepulledout
atrandom.106However,theselogics(andotherneuro-imagecharacteristics)were
alreadypresentincinemabeforetheriseofdigitalcultureinthesamewaythat
characteristicsofthetime-imagepreviouslyalreadyexistedinthemovement-image.107
Asweknow,theimage-typesdonotexcludeeachother.Inessence,theyconsistently
coexistthroughtheirvirtuality,eventhoughoneofthemwillalwaysbedominanttous.
Technically,onecouldsaythatthe‘next’image-typeisalreadypresentincurrentand
pastcinema.Screenmultiplicityispartofthecurrentdominantstructureandcinema
hasfounditswaytorespondtothis(ledbyitswilltoart)bylettingtheneuro-image
surface.Thus,theneuro-imageshouldbereadytofacethechallengesofthescreens
withardour;simultaneouslyadaptingtotheworld,whilealso‘arting’andoffering
resistancetoitsstructure.
103Deleuze,CinemaII,273.104Deleuze,273.105Pisters,TheNeuro-Image,148.106Pisters,8–12.107Pisters,26.
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Nomadism
SimilarlytoPisters,Andrewarguesforasecondturningpointincinemadefinedbythe
newcontextsofitsexhibitionanddistribution,essentiallystartingwiththeintroduction
oftheVCR.108Eversincethisinnovation,theviewerhasacquiredmoreandmoreagency
inthecinematicsystem,throughforexampletheremotecontrol.Hestates:
LetHollywoodcolonizetheglobe[…];the‘soulofcinema’nowemergeselsewhere,in
moviesassembledinscatteredlocations,thenbicycledtooutlyingviewingsitesandto
diasporiccultures,thesymbolofwhichisthefilmfestival.Themoviesthattodaythink
thenational beyond thenation travel fromRotterdam toToronto toBerlin.Critics
literallyfollowthismovingcamptocatchtherumorofcinema—andarumoritis,for
the‘soulofcinema’ispassedaroundasthoughbywordofmouth,atransitionalidea
existinginpassage.109
Thisimpliesthatthereisnoepicenteroftruecinemaproductionsanymore,achange
thatisfurtherdevelopedbytheneuro-image’sgrowingdigitallogic,additionallymaking
theconsumptionoffilmincreasinglymobile.110
AccordingtoAndrew,truecinemahasbecome‘nomadic’,aDeleuzianmetaphor
basedonawayoflifeofnomadicpeoples,relatingtomobility,fluidityandasenseof
freedom,opposingtothefixedState.111Thisconceptisquiteproblematicandhas
receivedcritiquefrompostcolonialscholarssuchasSpivak,becausewhileitisinspired
byactualpeople’slives,Deleuzedisregardsthepoliticaldifficultiestheyfaceeveryday
regardingthislifestylebyusingitinapurelyvirtualway.112Indeed,theconceptof
‘nomadism’hasbeenusedprimarilytoenrichaveryEurocentricfieldofphilosophy,not
takingintoaccountitsactual(political)significance.However,asAndrewnotes,
nomadismisneverusedbyDeleuzewithregardtocinema.113Heremightlieawayto
usetheconceptmoreresponsiblythanthemetaphysicalwayDeleuzepreviouslywrote
aboutit,preciselybecausefilmcombinesvirtualandpoliticalaspectssodirectly.Cinema
hasthepotentialtotrulyinvolvenomadicpeoplesinitsnomadicways,therebymerging
108Andrew,‘TheRootsoftheNomadic’,216.109Andrew,226.110Pisters,TheNeuro-Image,237.111Andrew,‘TheRootsoftheNomadic’.112GayatriChakravortySpivak,‘CantheSubalternSpeak?’,inColonialDiscourseandPost-ColonialTheory:AReader,ed.PatrickWilliamsandLauraChrisman(NewYork:ColombiaUniversityPress,1994),66–111.113Andrew,‘TheRootsoftheNomadic’,217–18.
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andmixingtheactualityandvirtualityoftheworld.
Consideringmodern-daycinema,itsvirtualityalreadyimpliesthatitcancome
fromanywhereandgoanywhere,givingvoicetomanywhoaremarginalizedandwho,
throughthepowerofcinemamightbeheardandlistenedto.Itsnomadicaspect
however,entailsthattheessenceofcinemahasbecomemoreacenteredthanever
throughthetransmedialnatureofourtime.114ForAndrew,thisentailsthattruecinema
nowoftenemergesas‘minorcinema’,atypeofcinemaalsotermed‘thirdcinema’in
referencetoitsshiftoffocusfromFirstCinema(classicHollywoodproductions)and
SecondCinema(Europeanauteurcinema)tothe‘restoftheworld’.115However,the
maincharacteristicofminorcinemaisitspoliticalresistanceandengagementwithits
ownminorityposition.116ThisdoesnotmeanthataHollywoodfilmcannotbetrue
cinemaanymore,butsimplythatHollywood’smovement-imagesorEuropeantime-
imagesarenottheonlyproductionstylesanymore.Minorcinemaallowsforverylocal
perspectivestoemerge,butthefilmsareconnected(andconnectus)throughtheiraim
toresistthestatusquo.117Aesthetically,thiscanbedistinguishedinaheavymixingof
establishedcinematiccodes,creatingworksthatdonotfitintoanythingfamiliar.118As
Flaxmannotes,nomadismimpliesto“conceiveofathoughtwithoutanoverarching
image”.119Whiletheneuro-imageadherestocertaincharacteristicsandwillalwayshave
thisstrongconnectiontothebrain,thefactthatthesoulofcinemaisnowproducedand
distributedallovertheglobealsosuggeststhattheimageitselfbecomesharderto
identifyassuch,sinceitlacksaconsistentaestheticstyle.
Insteadofexistingwithinasetterritory,thepossibilitiesoftechnologyserveas
toolsforcinematocreatenewterritory.120Thisisexemplifiedbychangesincinema’s
archivalqualityasaddressedbyPisters.Filmhasalwaysbeenpartof(creating)an
archive,shapingourmemoryofhistory.121Withdigitaltechnologyhowever,archives
arenowvirtualordigitaldatabasesandarebecomingincreasinglyaccessibleand
114Andrew,216.115Andrew,225;Flaxman,TheBrainIstheScreen,34Iwillfurtheruse‘minorcinema’here,aswhatIwanttoemphasizeismoresothevirtualdimensionofresistancethantheactualgeographicalprovenanceofnomadicfilms.116 Pisters, The Neuro-Image, 229. 117 Pisters, 264–65. 118Pisters,257.119Flaxman,TheBrainIstheScreen,53n138.120ClaireColebrook,‘Nomadicism’,inTheDeleuzeDictionary,ed.AdrianParr,Rev.ed(Edinburgh:EdinburghUniv.Press,2010),186.121Pisters,TheNeuro-Image,222–23.
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diverse.Asthecontentskeepchangingandtheygrowmoreandmoreopen,today’s
archivescanbetermedas“alive”.122Complicatedhistoriesareconstantlycontested
fromallsides,whichnowhavetheopportunitytocontribute,keepingourcollective
memoriesconstantlyunfixed.Thisresultsinafuturethatisjustasopenasthepast.123
Throughfilm,andespeciallytheneuro-image,asalivingarchive(whetherfictionalor
not),realityofpast,presentandfutureisconstructedandconstantlyremixedand
changed.124Beingsocloselyrelatedtotechnology,neuro-imagesfollowadigitallogic,
inherentlyentailingsucha“deepremixability”.125Nexttomixingandcreating
heterogenouscinemastyles,onecanconcretelyalsothinkoffilmsbeingreleasedin
differentversions,withalternativeendings,orfeaturingextrascenes,offering
alternativesfortheviewertochoosefrom;butevenmoreso,ofthepossibilityfor
anyonetodirectlyinteractandinterferewiththefilm,forinstancebyaddingand
uploadingownversionsofmontagesorvoice-oversontheWeb,therebypotentially
changingmeaningandmemorythroughthedigitalarchive.126
Cinemanowinhabitsterritoryinanomadicway.Thismeansthatitsexisting
structuresandthedigitalspacewhichourtechnologyprovidesdonotdetermineit,but
ratherthatcinema“fillsthespacefromwithin”.127Insteadofadaptingtotechnological
innovation,cinemausesthesetechnologiestorecreateitselfthroughitswilltoart.
WhileforDeleuzefilmtheaterswerethehomeofcinema,Andrew’sdiscussionof
cinematicnomadismdatesbacktotheyear2000,wherefilmfestivalsandDVD’sare
relevantadditionstoexemplifyitsworkings.Onecanthereforenotignorethatthe
nomadicaspecthasonlygrownfurtherinrecentyearsthroughtheenormousspreadof
theInternet.ManyofthefestivalsthatAndrewmentionsforinstancenowhavealso
createdtheirownstreamingservices,makingtheircontentavailableyear-roundin
literaldatabases.128Inthissensethe‘soulofcinema’andits‘space’isdigitalizedfurther
andfurther,whilestillcomingtousfrommanydifferentactualplaces.
122Pisters,222.123Pisters,221.124Pisters,253.125Pisters,8.126Pisters,10.127Colebrook,‘Nomadicism’,187.128e.g.:InternationalFilmFestivalRotterdam,‘IFFRUnleashed-NotYourEverydayFilms’,accessed6June2018,https://www.iffrunleashed.com/;GöteborgFilmFestival,‘DrakenFilm|StreamaHundratalsHandplockadeFilmerFrånHelaVärlden-79KrperMånad’,accessed6June2018,https://www.drakenfilm.se/.
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AsColebrookwrites:“nomadicspaceisproducedthroughitsdistribution”.129Itis
createdthroughitsoccupationwhichrevealswherepeopleorentitiesaccumulateand
remainsalwaysinmovement.130Naturally,thefieldofcinemaemergesinpartfromthe
actualdistributionoffilmsaroundtheworld,butshouldbeemphasizedishowitinfact
originatesfromitsvirtualdistribution.Thenomadicshiftintheconceptionofspaceis
firstandforemostfelt‘virtually’infilms,seeingasthisvirtualityiswhatdefinescinema.
Thistranslatesintoneuro-imagescomingfromminorcinemausuallynotprovidingus
withthechronicleofonehero,orauniversaltypeof(hi)storyrelatingtoageneral
humancondition.131Instead,they‘create’apeople,throughasortof“personal
fiction”.132Thisresultsinfilmsaboutpeople(s)thataremissingorfragmented.133Such
imagesarespecific,sospecificthattheyactuallymightnot‘represent’anyoneatall.
Althoughtheycanbepoliticalonalocallevel,nomadicfilmsoftheneuro-imagealso
remainwithoutfixedcinematicidentity.Variousfilmsmightshowunconnectedplaces
andpeople,134theymightfunctionastheirownmicropoliticalacts,buttheycannotbe
determinedordelineatedastheyhavenoguidingprinciple.135
Nevertheless,regardlessoftheir‘non-universal’nature,nomadicfilmsarenow
accessibletomanypeoplethroughthemultiplicationofscreensanddigitalization,
fosteringarelationtotheoutsideoftheirdirectterritory.136Sucharelation
automaticallycreatesarelationinresponse,fromtheviewerontheoutsidetothe
nomadic.Inthissense,allnomadicfilmsdocontributetothecontinuouslymoving
dynamicsofcinemaregardingthequestioningofvirtual/actual,fiction/reality,and
personal/collectiveforinstance.137Eachfilminhabitsthecinematic,nowdigitalor
digitalizedspaceinitsownway,changingandenrichingitforpreviousandpresent
cinema,butalsoforfilmstocome.Withitsdatabaselogic,theneuro-imagecontributes
tothedigitalizationofthearchive,makingourcollectiveworldmemoryasslipperyas
ever.Furthermore,thearchivalcharacteristicoffilmnownotonlybringpasttothe
129Colebrook,‘Nomadicism’,187.130JamesWilliams,GillesDeleuze’sDifferenceandRepetition:ACriticalIntroductionandGuide:ACriticalIntroductionandGuide(EdinburghUniversityPress,2013),71.131Pisters,TheNeuro-Image,229.132Pisters,254.133Pisters,229.134Pisters,227.135Williams,GillesDeleuze’sDifferenceandRepetition,71.136Pisters,TheNeuro-Image,258–59.137Pisters,254.
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present,butalsotothefuture.138The‘soulofcinema’hasbecomecompletelyunfixed:139
itisnotlinkedtoaplaceortimeanymore,butinsteadwandersthroughaworldof
screensasithasbeendeprivedofanyoriginal‘land’butgainsnewterrainasitgoes.
Diffraction
Nowthatspecificitiesofcinema,brainandscreenshavebeenestablished,Iwantto
continuemyanalysisofcinemaandthebraininthislastsectionbyposingthequestion
howthespecificpowerofcinemahaschangedindigitalscreenculture.Inordertodo
this,recenttheoriesbyKarenBaradofferusefulinsights.Baradisoriginallyaphysicist
whohasdevelopedatheoryofagentialrealism.Shehaswrittenaboutthephenomenon
ofdiffractionasamethodtotheorizedifference.140Iwillshortlydiscussthesehereand
demonstratehowconnectingtheseconceptstocinemaandDeleuze’scrystalimageis
helpfultoevaluateitspower.
AccordingtoBarad’sagentialrealism,notonlyhumansorlivingbeingshave
agency,butmatterdoessotoo.‘Things’imposecertainlimitations(they“kickback”)141
andareactivelypartofthebecomingoftheworld,affectingandshapingphenomena.142
Inthissense,Baradurgesustonotseetheworldthroughclearbinaryboundariessuch
asselfandOther,subjectandobject,matteranddiscourse,insideandoutsideorscience
andsocial.143ThisissomethingDeleuzeseemstoagreewith,asheattributesapowerto
filmformakingusconsciousoftheconstructionofthesetypeofconceptsasoppositions
andprovidinguswithnewwaysofperceivingthem.144AsIhavearguedbefore,cinema
allowsusthinkdifferently,questioningtherelationbetweenbrainandthought,actual
andvirtual,orpresentandpast/future.
Indeed,Pistersnotes:“ForDeleuze,thevirtualisalwaysconnectedtotheactual
butinafarmoreintimatewaythanbyopposition.”145Itisthroughthecrystal-imagein
itspurestatethatthisentanglementhappens,as“theactualandthevirtual,without
138Pisters,227.139Andrew,‘TheRootsoftheNomadic’,216.140KarenMichelleBarad,MeetingtheUniverseHalfway:QuantumPhysicsandtheEntanglementofMatterandMeaning(Durham:DukeUniversityPress,2007).141Barad,214–15.142Barad,136.143KarenBarad,‘DiffractingDiffraction:CuttingTogether-Apart’,Parallax20,no.3(3July2014):169,https://doi.org/10.1080/13534645.2014.927623.144ConstantineVerevis,‘Cinema’,inTheDeleuzeDictionary,ed.AdrianParr,Rev.ed(Edinburgh:EdinburghUniv.Press,2010),49.145Pisters,TheNeuro-Image,248.
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beingconfused,havenonethelessbecomeindiscernible”.146Thecrystal-imageemerged
withthetime-imageandreferstothe‘crystallization’oftheactualimagewithitsown
virtuality.147Thisisaconfusingexperiencefortheviewer,asitforcesustothink
differentlyandcreatenewcircuits.148Crystal-imagesthussimulateandstimulatethe
plasticityofourbrainand,inthisway,helpuscomeclosertowhatBaradtermsa“non-
binaryconceptionofdifference”.149AsPistersexplains,withtheneuro-image(whichcan
beconsideredverycloselyrelatedtothecrystal-image)theviewercannoteven
distinguishtheswitchingbetweenactualandvirtualanymore.150Inthissense,crystal-
imagescanhelpusunderstandthateverythingiswithintheworld,butalsoalwaysan
activepartofitandwecanneverjustpositionourselvesontheoutside.151Different
agencies,actualandvirtual,areentangledtogetherandshapeandcreateeachother.152
Baradexplainshowobjectsandtheiragencies“emergefrom,ratherthanprecede,the
intra-actionthatproducesthem.”153Thismustimmediatelyremindusoftheconceptof
plasticityandthewayDeleuzestatesthatthebraindoesnotpre-existstimuli,butis
shapedbythem.154Infact,whatIwanttosuggestisthattheseideasarecloselylinked
andIbelieveBaradcanhelptoshedlightonthequestionofthebrainandscreenin
contemporaryscreenculture.
LambertandFlaxmansuggestthatthefutureofcinemaliesinthedevelopmentof
thecrystal-image.155Thenewlysurfaceddigitallogicofcinemaencouragesthecrystal-
imageasitswilltoartaswell.Thisispreciselybecausedigitaltechnologiesalready
intrinsicallyblurourconceptionofvirtualandactual.ForDeleuze,thecrystal-imageis
mostclearlyexemplifiedthroughthemirror:“[T]hemirror-imageisvirtualinrelationto
theactualcharacterthatthemirrorcatches,butitisactualinthemirrorwhichnow
leavesthecharacterwithonlyavirtualityandpusheshimbackout-of-field.”156Deleuze
146Marrati,GillesDeleuze,73.147Deleuze,CinemaII,72.148Marrati,GillesDeleuze,72.149Barad,‘DiffractingDiffraction’,170.150Pisters,TheNeuro-Image,58.151Barad,MeetingtheUniverseHalfway,37.152Barad,33.153Barad,128.154Deleuze,‘TheBrainIstheScreen:InterviewwithGillesDeleuzeon“TheTime-Image”’,48–49.155GreggLambertandGregoryFlaxman,‘TenPropositionsontheBrain’,inDiagramsofSensation:DeleuzeandAesthetics,ed.DarrenAmbroseandWahidaKhandker(Coventry:UniversityofWarwick,2005),124.156Deleuze,CinemaII,73.
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citesthefilmTheLadyFromShanghai157asaperfectcrystalimage,whereinonescene,
thecharactersareimpossibletodistinguishfromtheirvirtualreflectionsinmirrors,and
enduphavingtosmashthereflectingsurfacestoendeachother’slives.158
Currenttechnologieshavethepotentialtotakethisindiscernibility
(crystallization)evenfurther.AnoteworthyexampleofthiscanbefoundinHarryPotter
andthePrisonerofAzkaban,159thefilmadaptationofthethirdHarryPotternovel
directedbyAlfonsoCuarón.Here,wefindascenewheretheyoungwizardslearntocast
aspellagainsta‘boggart’,acreaturethattakesontheformofone’sbiggestfear.The
boggartiskeptinamirroredwardrobeandasthescenebegins,weseethewardrobe
fromtheperspectiveofthestudents(weseetheirreflections),untilthecamera(which
‘magically’isnotreflected)passesthroughthemirrorandwerealizethatour
perspectivemightactuallyhavebeenonthevirtualside,theoneofthestudents’
reflectionsbefore.However,thesceneendswithanothersuchpassagethroughthe
mirror,leavingtheviewerdazzledastowhichsideofthemirrorwasthevirtualand
whichtheactual.Thisremainsimpossibletofindout.Suchascenecouldonlybe
producedwiththehelpofcomputergeneratedimagery(CGI).Whatweseeonthe
screenisthusbroughttousbythepowerofdigitalscreentechnology,whichisnow
profoundlyentangledwithcinema.Bygoingthroughthemirrorthatopensuptoour
fears,weareprovidedwithmorethanarepresentationandinsteadgettolookinto
ourselves.160Itisinthiswaythatwethusdirectlyexploreourownactualandvirtual
dimension,orinotherwords,ourbrainanditsplasticity.Thisdemonstrateshow
throughtechnology,cinemahasthepowertocreateandtocomeevenclosertoour
brain.
Baraddiscussesreflection,notonlyasaphysicalphenomenoncreating
representations,butalsoasprevailinginthewayweact,takingtheformof
reflexivity.161Asdiscussedinpart2,weincreasinglyfindsuchreflexivityinfilm(e.g.in
theformofmentalimages),andalthoughitisaninterestingpractice,inasenseithas
becomeoutplayedalready.This‘meta-effect’justkeepsbeingmirroredoverandover
157OrsonWelles,TheLadyfromShanghai,Crime,Drama,Film-Noir,1948,http://www.imdb.com/title/tt0040525/.158Deleuze,CinemaII,73.159AlfonsoCuarón,HarryPotterandthePrisonerofAzkaban,Adventure,Family,Fantasy,2004,http://www.imdb.com/title/tt0304141/.160Nerdwriter1(EvanPuschak),HarryPotter&ThePrisonerofAzkaban:WhyIt’sTheBest-YouTube,2016,https://www.youtube.com/watch?v=3hZ_ZyzCO24.161Barad,MeetingtheUniverseHalfway,71.
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again,producingnothingtrulynew.Itcanthereforenolongerbeintegraltocinema’s
trueformorpartofitswilltoart.
ItisinterestingthatDeleuzereferssospecificallytomirrorsforthecrystal-
image,especiallysinceBaradmakesapointtorejectreflectionasaproductive
practice.162Reflectionsarerepresentations;theydonotmakeadifference,theydonot
createandthustheyarenot‘plastic’.Therejectionofrepresentationisanimportant
similaritybetweenBaradandDeleuze,163butwhatweseeinamirrorisareflection.
Despitethis,Deleuzeactivelypraisesmirrorsfortheirabilitytogeneratedifference.
However,hismirrorscanalsobeoblique,concaveorconvex,creatingadistortedimage
oftheactual.164Inthissense,theydotaketheirreflectionsfurtherthanarepresentation
thatwewouldjudgeas‘truthful’.ThisresolvesoneofBarad’sobjectionsto
reflection/reflexivity,asshearguesthatreflexivitysupposesthatrepresentationsreflect
reality.Baradcriticizesthepracticeofreflectinguponrepresentation,therebyputting
“mirrorsuponmirrors”165withoutcreatinganythingnew.AsMalaboustatesasthefinal
answertoherquestion:“Nottoreplicatethecaricatureoftheworld:thisiswhatwe
shoulddowithourbrain.”166Bynow,itshouldbeclearthatDeleuzeandPistersargue
exactlyforsuchpotentialincinema,asthisiswhatmakesitsuchaspecificartform.
Baradproposesdiffraction,whichdoeshavethispowertocreate,incontrastto
thedominantpracticeofreflection/reflexivity.Diffractionisanotheroptical
phenomenonthatisproducedwhenanytypeofwave(water,light,soundetc.)under
therightconditionsencountersabarrier,suchasawall,screenorcrystalofwhichthey
havethepossibilitytotravelthrough.167Thismightinvolvetheobstructiontohaveone
ormoreslits,orthetypeofwavetobeabletogothroughtheobstructionmaterial.
Insteadofgoingthroughtheobjectinastraightfashionasonemightexpectatfirst,the
waves‘diffract’,meaningthattheyformapatternthatspreadsthemout,asiftheir
bundlewasslicedandrearranged.168Diffractionthushastodowithmanifoldcutting
andreconfiguringwhichresultsinexpansionofthewaves.169Inthissense,diffraction
conflictswiththenotionofopposingdichotomies,becausetheseareformedbyasingle
162Barad,29.163Pisters,‘TemporalExplorationsinCosmicConsciousness’,1.164Deleuze,CinemaII,73.165Barad,MeetingtheUniverseHalfway,88.166Malabou,WhatShouldWeDowithOurBrain?,78.167Barad,MeetingtheUniverseHalfway,74.168Barad,74–79.169Barad,‘DiffractingDiffraction’,168.
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cutintwo.170WhatDeleuzeisleadinguptowiththecrystal-imageanditsfurther
developmentincontemporarycinemaisinfactatypeofdiffractivecinema,cinemathat
makesachange,inourbrainsandthereforeintheworld.Thisalreadybecomesclearin
histerminology,sincecrystalsarecharacterizedbytheirqualityasdiffraction
gratings.171Thecrystal-imagethusimpliessomethingmorethanavirtualcopyofthe
actual.
Baradusesthephenomenonofdiffractionas“atoolofanalysisforattendingto
andrespondingtotheeffectsofdifference”.172Inthissense,itismorethanamere
metaphororanalogy,indicatinganothershiftawayfromrepresentation.173Byusingit,
oneisnottryingtocompareseparateentitiestofindrelationships,butinsteadlooksat
veryspecificentanglements,wheremoreisatstakethanjustonethingcollidingwithor
relatingtoanother.Everyphenomenonisacomplicatedknotandhasitsownspecificity.
Diffractionisacriticalpracticeformakingadifferenceintheworld,becauseitisnot
onlyaboutunderstandingthedifferencesbetweenphenomena,butalso“howthey
matterandforwhom”.174Inthissense,diffractionisalsocloselytiedtothepolitical.Ina
recentarticle,PistersconnectsDeleuzianideasoncinemawithBarad’sdiffraction:
“Using[diffraction],wecanseehowourcontemporarydigitaltoolsintra-actwithour
conceptionoftime.”175Throughtheneuro-image’sorientationonthethirdsynthesisof
time,andthenewtransmedialityofcinema,wehavetheapparatustocreatea“future
thatdiffersfromthepast”,176becauseitisthroughdigital(screen)technologiesthatwe
cantakethedeconstructionofdichotomiesfurtherthanever.AsPistersremarks:“not
onlycancontentberemixedandrecombined,butalsodifferenttechnologies(suchas
design,animationandliveaction)canberecombined.”177These‘cuttingandcombining’
techniquesencouragediffractionincinemaandstimulateitsplasticpower.Diffraction
thusexposesthecloserelationsbetweentechnology/science,cinemaandphilosophy.
Combined,theseagenciescanbediffractedintoendlesspossibilities,workingtowardsa
differentbecomingoftheworld.178
170Barad,168.171Barad,MeetingtheUniverseHalfway,83.172Barad,72.173Flaxman,TheBrainIstheScreen,36.174Barad,MeetingtheUniverseHalfway,90.175Pisters,‘TemporalExplorationsinCosmicConsciousness’,4.176Pisters,4.177Pisters,TheNeuro-Image,10.178Pisters,‘TemporalExplorationsinCosmicConsciousness’,3.
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Throughtruesoulofcontemporarycinema,wemightstartdisentangling
challengesofthepresentandfuture.Timeintheneuro-imageisrecutmorethanever,179
howeverthisrecuttingdoesnotmoveusawayfromentanglementsbutmanagesto
bringusclosertothem,closertotheirmateriality.Pistersmentionscontemporary
neuro-imagesciencefictionwhich,insteadofmovingintospacetowardsthefuture,
movesusbacktoearth,througha“futurethatisnow”.180Thisallowsustonotonly
reflectonearthfromaspaceperspective,butrealizeourintrinsicpartinits
entanglementinadiffractiveway.Ourpastandpresentarenowdimensionsbasedon
ourvisionsofthefuture.181“Thedigitalimpliesadatabaselogicthatallowsforallkinds
ofreconfigurations,remixings,andre-orderingsofpastandpresentevents.”182These
cinematicdiffractionscreatedifference,andsuchdifferencecannotgounnoticedbyour
brain.
179Pisters,TheNeuro-Image,303–4.180Pisters,‘TemporalExplorationsinCosmicConsciousness’,8–9.181Pisters,TheNeuro-Image,304.182Pisters,‘TemporalExplorationsinCosmicConsciousness’,4.
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Conclusion
Thepurposeofthisworkwastoidentifythecinematicrelationshipbetweenbrainand
screenindigitalscreenculture.Tothisend,IhaveexaminedDeleuze’sideasoncinema
andcombinedthemwithseveralmorerecentworksonthetopic.Startingwiththe
movement-image,pre-warcinemashowedmovementthroughprimarilytheaction-
image.Thishadnotbeenrecreatedbeforeoutsideofourown‘natural’perspective.After
WorldWarII,thetime-imageemergedwithitsinsistenceondisplayingtimeonscreen
throughinnovativecutsandmontages.IwanttoemphasizeagainthatwhenDeleuze
writesaboutcinema,heusuallyrefersto‘good’or‘true’cinema.Forhim,thistrueform
isthesoulofcinema,atypeofidealizedformofitwhichcarriesitswilltoart.183This
meanstheyarenotnecessarilythemostpopularormostcommonlymadefilms.Instead,
thesearethefilmswhichmakevisibletheinvisibleatthetimeitbecomesnecessary.For
thetime-andneuro-image,this‘invisible’isthevirtualdimensionofreality,184which
crystallizeswiththeactualinthecrystal-image.
Cinema’sessenceisitsconnectiontothebrain,asithastheabilitytofoster
thought-creatingcircuits.185Therefore,thebrainisthescreenandthescreen(cinema)is
alsoabrain.Filmisthuscharacterizedbythesameplasticitythatourbrainpossesses.186
Inaway,Deleuze’scinemabooksaremoreonthebrainanditsimagesthancinemain
theclassicalsense.187Pisters’thirdimagetype,theneuro-image,introducesaneven
moreexplicitbondbetweenbrainandcinemabylinkingcontemporaryneuroscience
findingstothescreen.188Wefindourselvessurroundedbyplasticpotential,but
unfortunately,weareunabletoutilizeitbecausewedonotknowofit.189
Especiallyintheformoftheneuro-imagecancinemahelpustoreclaimthis
creativepower,asitcombinesafocusonthefuturewithareturntoourselves.190The
neuro-imageshowsusanexceptionallyplasticbrainandworksinthesameway.191This
extremeplasticityemergesthroughitscontextinacultureofdigitaltechnologieswhich
aredeeplylinkedtothevirtual.AsIhaveargued,theplaceofcinemahasshiftedas
183Flaxman,TheBrainIstheScreen,34.184Pisters,TheNeuro-Image,21.185Pisters,193.186Malabou,WhatShouldWeDowithOurBrain?,39.187LambertandFlaxman,‘TenPropositionsontheBrain’,120.188Pisters,TheNeuro-Image,18.189Malabou,WhatShouldWeDowithOurBrain?,1.190Pisters,‘TemporalExplorationsinCosmicConsciousness’,8.191Pisters,TheNeuro-Image,52.
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cinemahasbecomeacenteredinactualaswellasvirtualspace.192Themultiplicityof
screenstoseeandcreatefilmsonandthedatabaselogicthatinfluencescinema’s
archivalfunctionhavecausedanomadicaspecttosurfaceincinema.193Thisentailsa
qualitativechangeincinema,whichhascometoshowveryspecificsituations,peoples
orplaces.Viewersmightrelatewithmoredifficultytothesefilms,becausethesearenot
universalnarrativesanymore.Additionally,therearenospecificvisualtraitsthathold
thenomadicneuro-imagetogether.However,itremainspoliticalsince,bycreatingor
discussingapeoplethataremissing,itenables“thetransformationofestablished
visionsoftheactualworld”.194Aspecialtypeofthoughtisthusstillcreatedwithoutthe
needforacoherentaesthetic.
Finally,IhavediscussedBarad’sconceptofdiffraction,becauseitbringsmeto
thefinalanswertothequestionof‘whatconstitutestherelationshipbetweenbrainand
cinemaindigital(screen)culture’.Ibelievethatthiscanbetermedadiffractive
relationship.Thedigitalscreencinemaoftheneuro-imagehasthepowertomakeus
consciousofourbrainbecauseitcombinescinema,philosophyandneuro-
/technoscience,proceedingtocut,remixandrecombineaspectsofallimage-typesand
timesyntheses,therebybringingusclosertoanundecidedandplasticfuture.195The
practiceof(re)cuttingcreatesdifference,orhelpsustoconceptualizedifference
differently.196Openingupthepastbykeepingit‘alive’andmovingopensupthefuture
foradifferentbecomingoftheworld.InBarad’swords:“The‘past’wasneversimply
theretobeginwith,andthe‘future’isnotwhatwillunfold,but‘past’and‘future’are
iterativelyreconfiguredandenfolded.”197
Itisinthiswaythatweareabletocreatenewbraincircuits,realizingthe
plasticityofourbrain.Thebrainisthescreenand“[t]hescreenitselfisthecerebral
membranewhereimmediateanddirectconfrontationstakeplacebetweenthepastand
thefuture,theinsideandtheoutside,atadistanceimpossibletodetermine,
independentofanyfixedpoint[…].”198Keepingusundetermined,thescreenthus
192Andrew,‘TheRootsoftheNomadic’,216.193Pisters,TheNeuro-Image,24.194Pisters,264.195Pisters,‘TemporalExplorationsinCosmicConsciousness’,4.196Barad,‘DiffractingDiffraction’,170.197RickDolphijnandIrisvanderTuin,‘InterviewwithKarenBarad’,inNewMaterialism:Interviews&Cartographies(OpenHumanitiesPress,2012),66,https://doi.org/10.3998/ohp.11515701.0001.001.198Deleuze,CinemaII,130.
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establishesdifferencewithinourbrain,adifferencethatgivesuspowertochangethe
world.
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