… countless potential sites of production and interruption remain to be discovered.
This is from the essay ‘Moving Images Moving Images’ by John Kelsey, found in Art and the Moving Image: A Critical Reader edited by Tanya Leighton (2008):
It’s not only rage that drives children to break their favorite toys. Sometimes it’s the urge to release the productive potential trapped inside a product, sometimes it’s simply the joy of wasting them.
… To create a cinema equal to our present desires would mean not only causing it to dysfunction, not simply interrupting its illusory continuity in order to expose the traumatic real it prefers to hide, but opening cinematic production (and reception) to other kinds of events — social, collective, inter-subjective — and to the vertigo or joy of its own dispersal in lived time and space.
[line break added] For cinema is not only moving images, it is a system of productive relations and a chance to intervene in the specific rhythms and distances that determine these from without and within. Is this a ‘relational’ cinema? Only if the relationality it produces is not foremost and, finally, aesthetic.
[line break added] Between the street and the seat, the recording and the projection, the actor and the viewer, the soundtrack and the bedroom, the museum and the graveyard, play and rewind, original and copy, doing and not doing, countless potential sites of production and interruption remain to be discovered. To disperse cinema in this way is to create and multiply cinematic possibilities both on and off the screen where the finished product normally appears.
… If culture and conditions we live and work in come at us as rhythm — not just discourse or signs but as rhythmic discourse and signs — our function is also to play these rhythms back at different speeds and tempos. The question of ‘how to make something happen’ is at once critical/interpretative and musical/poetic. … Cinema is a means of engaging both the system of movements — of bodies, of information, of capital, of thought — that our cinema is immersed in and of injecting new and mutant speeds back into the flow of the present.
… We are all moving images colliding with other moving images. … Here we are all moving images moving images.
My most recent previous post from this book is here.