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By Victor Burgin, David Campany, Mary Anne Doane, Jonathan Friday, David Green, Yve Lomax, Joanna Lowry, Laura Mulvey, Kaja Silverman, Garrett Stewart

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Additional info for Stillness and Time: Photography and the Moving Image

Example text

IS, rather, our own 'mental being' or des ire. It Because of his comm itment to the principle of epiphenomenal similitude, the author of Background does not hesi tate to evoke melancholy through two metaphors of darkness, much as Durer did before him: a raven, and the black skeleton of a prehistoric sloth. When the first of these metaphors is introduced Into Background, via the voice-over, it is on the verge of dying. Rescued by two boys, It ultimately survives, but only to be carried in a black box from room to room.

I,{it;·by. , .... I would be the /irst to a'[l it that becoming strangers to our times and ourselves can be intolebl e yet, pe rhaps , it is what gives us the chance to diagnose what is intoleble in our tim es.

TIme and time again, Deleuze s peaks orh v' , 's someone who sees furth er than the can r a II1g us beco me a seer', which y . " He says that, whereas th e media turn us ,' nt o mere pass ive onlook . ( . ". els or worse stlJI , voye urs), the most ord inary events cas t us b . ' ,< . • len we ecome such a interval - of becomjng wll'ch . ly sees the time - the , 1 ' S to see what IS w't h ' . " Now, I have let myself t d , I . III II : too much - agon is ing 0war vision; however what thl'S go t1 s - and expe nme nt with - such photogra phic ima ge as an interva l - e t .

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