2020-06-19-SEEABLE RELATIONSHIP. SAYABLE CONNECTION. #04: In Search of Lost Time

This post is not organised writing or essay, but the fragmented thought.

In the Dream and In-between

Once the dream was known as the future to come. It shows the messages from the ancestors to warn the dangers or fortunes. Or, it was a desire that is suppressed long time, desired but unachieved affection. Now, it became a common knowledge that dream is just a crumbled memories that made an assemblage by the brain with total anomalous. Yet, we don’t know why we sleep and why we have a dream. Its functionality is still the greatest mystery in human being. Deleuze referencing Marcel Proust’s ~In Search of Lost Time~and analyse as an assemblage, it is qualified as encyclopaedic, non-hierarchal, and self-reflexive qualities, which indicates a systematicity of heterogeneity. If his book is an assemblage of those three qualities, it is not unreasonable to say his book is a ‘dream.’ It is a diagramatised dream. It is not surprising why his book starts with the state of the in-between of dream and reality. His monologue consists of both dimensions.

Once awake and checking the time, and soon he is talking in the dream with an unclear distinction of real and dream. Each dimension contains a different system, the dream has its own, as Deleuze analysed. In the dream, there is random—random in the ‘real dimension’ perspective—figures and relationships. The heterogeneous connections appear and disappears. A stranger became a dearest and passionate lover, and ‘real’ sweetheart became the purest sadness. One thing would be sure that it is self-reflective. Two dimensions are not connected by the fracture of memories, but its connector is the human body. The human body became a mediator of the affection and experience in the dream. That is the only linkage that makes experienced and represented. The self-reflective dream constructs each representation following its own system and that representation created by the conscious experience.

From the viewer’s point of view, the film triggers the affect by receiving moving images through constrained vision, unlike the novel or illustration. It doesn’t give you the freedom to put the connection and restructure the imagery narrative. It doesn’t give you the space to move your body. It is not self-reflective but outer-reflective. Its strong authorship — by the author? Or systemic imagery? — constraint the viewer within their dream, or rather the diagramatised dream. The heterogeneous image structure paralyses the viewer and make them give up their body but live off the screen. Full of freed souls strolling around the screen. Do they know where they are? Do they know where they are heading? As the purpose of the dream is not to make a story or the narrative, film’s primary purpose, I believe, is the spill out the fragmented memories, experience, emotions, sadness, happiness, whatever human being produces following the reflection of the world and other beings. Although, many filmmakers worried remote control that would usurp the throne and distribute to the viewers. Has it really happened? Or haven’t we analysed in the wrong way? The author wasn’t the king or anaesthetic after all. The authorship since modernism, it became an archaic and forgotten term.
But it is same as we killed a man who doesn’t exist.

I will analyse this further in next post.

New Questions

  • What is the phenomenology in the dream and imagery?
  • How does condition of diagram?
  • Is diagram a both figure and background? content and form?