# movement-image ## Related Concepts ```dataview LIST FROM [[movement-image]] and "References/Concepts" and -"Plans" and -"resources" ``` ## Related References ```dataview LIST FROM [[movement-image]] and "References/Readings" and -"Plans" and -"resources" ``` ## Note - “The movement-image is the object; the thing tiself caught in movement as continuous function. The movement-image is the modulation of the object itself.” ([[@deleuze_cinema_1989]], 27) - Image = matter = movement = perception - Brain is a screen = the screen consitutes the development of the [[plane of immanence]] = it is a filter that extracts itself from chaos = the screen is a form of relation, of interchange, of mutual synthesis between the brain and the universe - “If the world is in the subject, the subject is no less for the world.” ([[@deleuze_fold_1993]], 25) - 다른 아트와의 비교 - 프란시스 베이컨에서 들뢰즈는 페인팅을 “sequence or a series” of sensations that play along the nervous system ([[@deleuze_deleuze_1993]], 189) - 그리고 literature의 경우는 the movement of [[becoming]] - a “passage of Life that tracerses both the livable and the lived.” Deleuze, *Essays Critical and Clinical*, 1 - 페인팅과 소설의 경우 “immobile in themselves so that it is the mind that has to ‘make’ movement.” ([[@deleuze_cinema_1989]], 156) - 움직임이 자동화된 시네마의 경우 propels sensation to a enw order of magnitude, - ”producing a shock to thought, communicating vibrations to the cortex, touching the nervous and cerebral system directly. Because the cinematographic image itself 'makes' movement, because it makes what the other arts are restricted to demanding (or to saying), it brings together what is essential in the other arts; it inherits it, it is as it were the directions for use of the other images, it converts into potential what was only possibility.”([[@deleuze_cinema_1989]], 156) ## Related Notes ## References