TARKOVSKY’S THEORY OF TIME-PRESSURES
Our discussion we had last spring about film theory, well, it crystallizes into the symmetries or asymmetries of Tarkovsky's theory of time-pressures (a scalar field), or time-thrusts (a tensorial force field). A perception-intentionreflection-action concept [Deleuze's thinking about film (classical/modern)] combines with the time-imagery of a Russian new-waver, whose ideals are not of the "pack." The crystal of forgotten-memories, the flow of sheets-of-time, they help us come to grip with a profound irrationality, which implicates our explicative rationality (Bohm's explicate and implicate orders)). Aesthetically, particularly film, the crystalline thought structure helps define the spectrum of cinematic states, which superimpose over a film-writing space that subsequently gets filled with time-thought-movement matter/energy. I make my stand on this issue, at least for the moment (excuse the pun). Thus, the "writing-hand-of-cinema," which is "us," "we," "you" and "I," the "Self" and the "Other," as expressed in the essay aptly titled The Performatist, the Hand That Writes, Writes Me. We take the velocities or tangentially derivatives (properly parameterized) as our point of departure. They form “vertical spaces” to our manifold of differences (the horizontal spaces are transverse to the manifold structure). The fibers grow out of the manifold into the total space. The kernel of the push-forward movement equates to the vertical space, which by definition vanishes (we may think of this as a looking for differences to which a deferment is applied, leaving behind a void). The differential thought process forms our pseudo-coordinate basis to localize filmthought-writing in a theory based on time-images. [Experimental writing of "non-sense" thoughts/thought-structures Outline for the main essay is given above. The series of essays to follow are part of a post-graduate project produced by writer and filmmaker George David Maynard/All rights reserved 2013 DGM/07-07-2013