Some Deleuzian film-material thinking or -voyaging:
'The libido does not undergo metamorphoses, but follows world-historical trajectories. From this point of view, it does not seem that the real and the imaginary form a pertinent distinction. A real voyage, by itself, lacks the force necessary to be reflected in the imagination; the imaginary voyage, by itself, does not have the force, as Proust says, to be verified in the real. This is why the imaginary and the real must be, rather, like two juxtaposable or superimposable parts of a single trajectory, two faces that ceaselessly interchange with one another, a mobile mirror. Thus the Australian Aborigines link nomadic itineraries to dream voyages, which together compose "an interstitching of routes" .. "in an immense cut-out [découpé) of space and time that must be read like a map." At the limit, the imaginary is a virtual image that is inter-fused with the real object, and vice versa, thereby constituting a crystal of the unconscious. It is not enough for the real object or the real landscape to evoke similar or related images; it must disengage its own virtual image at the same time that the latter, as an imaginary landscape, makes its entry into the real, following a circuit where each of the two terms pursues the other, is interchanged with the other. "Vision" is the product of this doubling or splitting in two (doublement ou dedoublement], this coalescence. It is in such crystals of the unconscious that the trajectories of the libido are made visible.'
Text from Gilles Deleuze, “What Children Say,”, ESSAYS CRITICAL AND CLINICAL (London: Verso, 1998), pp. 62-3.
Remixed Film: Bits & Pieces nr. 352: New York, man met camera op wolkenkrabber in aanbouw (Eye Film Instituut Nederland, 2011). Online at: openbeelden.nl/media/104841/BP352_New_York_man_met_camera_op_wolkenkrabber_in_aanbouw
Music: "Velvet Ladder" by Blue Dot Sessions (Free Music Archive Attribution-NonCommercial License. Online at: freemusicarchive.org/music/Blue_Dot_Sessions/TinyTiny_Trio/Velvet_Ladder)
Video: Catherine Grant, 2017
Thanks for the inspiration to Stanisław Liguziński and Nadine Boljkovac.