Deleuze: Cinema Of The Brain

Some new Deleuzean connections have emerged to support my ongoing study of life as a movie - [Excerpt taken from the book: Cinema 2: The Time-Image, by Gilles Deleuze, trans. Hugh Tomlinson and Robert Galeta, Althone Press, 1985, pp. 204–215. All Rights Reserved]:

The film does not record the filmic process in this way without projecting a cerebral process. A flickering brain, which re-links or creates loops – this is cinema. Lettrism had already gone a long way in this direction, and, after the geometric epoch and the ‘engraving’ epoch, proclaimed a cinema of expansion without camera, and also without screen or film stock. Everything can be used as a screen, the body of a protagonist or even the bodies of the spectators; everything can replace the film stock, in a virtual film which now only goes on in the head, behind the pupils, with sound sources taken as required from the auditorium. A disturbed brain-death or a new brain which would be at once the screen, the film stock and the camera, each time membrane of the outside and the inside?

In short, the three cerebral components are the point-cut, re-linkage and the black or white screen. If the cut no longer forms part of either of the two series of images which it determines, there are only relinkages on either side. And, if it grows larger, if it absorbs all the images, then it becomes the screen, as contact independent of distance, co-presence or application of black and white, of negative and positive, of place and obverse, of full and empty, of past and future, of brain and cosmos, of the inside and the outside. It is these three aspects, topological, of probabilistic and irrational. which constitute the new image of thought. Each is easily inferred from the others, and forms with the others a circulation: the noosphere.