Primary-text relation
The term or proposition is directly locatable in Deleuze; graphic layout carries a separate E1 label.
RELATION MAP LAB / EVIDENCE FOR NODES AND EDGES
Every node and edge carries a provenance tier
Concepts, relations, and diagnostic tools form traceable web structures. Nodes link terms, chapters, and edition locators; edges mark primary relations, secondary reconstructions, cross-text syntheses, or E1 models.
Secondary reconstruction
A cited systematic interpretation by a named scholar; the tabular structure is a secondary reconstruction.
Cross-text synthesis
A reading across the Cinema books, Bergson, philosophy of difference, psychoanalysis, or other Deleuze–Guattari texts.
E1 research model
A falsifiable research and teaching tool with E1 evidence status.
A
CINEMA 1 → CINEMA 2 / GENETIC HINGE
The movement-image is an immanent genetic condition of the time-image
Arrows mark an E1 reading route; node relations mark P1 passages in the two Cinema volumes. Crisis supplies the negative condition; pure optical/sound situations open direct time.
Matter as the aggregate of images
image / matièreBegin with a universe of images in which subjects and viewpoints emerge.
Cinema 1, chapters 1 and 4↗Perception-image
image-perceptionA centre of indetermination selects and subtracts from the aggregate of images.
Cinema 1, chapter 5↗Affection-image
image-affectionThe body experiences itself between received movement and a response not yet carried out.
Cinema 1, chapters 6–7↗Action-image
image-actionAction and situation determine one another in the large form S→A→S′ and the small form A→S→A′, sustaining an extensible sensory-motor circuit.
Cinema 1, chapters 9–10↗Crisis of the action-image
crise de l’image-actionThe loosening of links supplies the negative condition; direct temporal relations complete the transition to the time-image.
Cinema 1, chapter 12; Cinema 2, chapter 1↗Pure optical / sound situation
situation optique et sonore pureSeeing and hearing are no longer exhausted by action; the agent becomes a seer.
Cinema 2, chapters 1–2↗Direct time-image
image-temps directeTime is no longer inferred from movement and instead organizes movement, editing, sound, and image.
Cinema 2, chapters 3–10↗
B
CINEMA 2 CONCLUSION / E1 RECONSTRUCTION
A sign constellation of surpassed circuits, branches, and parallel dimensions
Primary locator: Cinema 2 conclusion §2, 2004 ZH-CN print 431–443 / collation PDF viewer 442–454 upper half. Section 3 begins later on the same page and belongs to the next argument. Grouping and vertical order are E1, informed by Deamer’s secondary taxonomy.
The optical and sound threshold beyond action
Opsign and sonsign open onto direct time. Tactisign appears in chapter 1; the conclusion section’s recapitulation begins with opsign and sonsign.
Opsign
opsigneSign of a pure optical situation.
2004 ZH-CN ed., print 434 / PDF viewer 445↗Sonsign
sonsigneSign of a pure sound situation.
2004 ZH-CN ed., print 434 / PDF viewer 445↗Tactisign
tactisigneA local chapter-one concept shown as a side branch of the conclusion chain.
2004 ZH-CN ed., print 20 / PDF viewer 31↗Recollection and dream expand the circuit, yet mnemosigns and onirosigns remain within indirect presentation
The recapitulation places mnemosign and onirosign within an indirect presentation that is subsequently surpassed; recollection and dream mark enlarged circuits.
Mnemosign
mnémosigneAn actual optical-sound image and a recollection-image form an enlarged circuit.
2004 ZH-CN ed., print 435 / PDF viewer 446↗Onirosign
onirosigneRelaxed perception passes through increasingly enlarged circuits toward dream-images.
Chapter 3, print 85 onward / PDF 96 onward; recapitulated at print 435 / PDF 446↗The smallest actual–virtual circuit
The hyalosign makes direct time visible as one of its forms; the criterion is the minimal actual–virtual circuit.
Time-signs branch into order and series
Sheets of past and peaks of present are two forms of temporal order; the genesign names the second kind of time-sign, temporal series.
Order of time: sheets / peaks
chronosigne — ordre du tempsCoexisting sheets of past and incompossible peaks of present are two forms of the same sign of temporal order.
2004 ZH-CN ed., print 436–upper 437 / PDF viewer 447–upper 448↗Series of time: genesign
génésigneTime takes the form of a series of variation, bifurcation, and becoming.
2004 ZH-CN ed., print 437 / PDF viewer 448↗Thought and readability as dimensions
The vertical arrangement provides a reading order; films may present several relations in different combinations.
Noosign
noosigneCuts, intervals, and relations to the outside undo habitual images of thought and force thinking.
2004 ZH-CN ed., print 439–441 / PDF viewer 450–452↗Lectosign
lectosigneThe image becomes a readable stratigraphy of sound, image, and invisible relations; words are one of its materials.
2004 ZH-CN ed., print 443 / PDF viewer 454↗Sign relations
The conclusion explicitly places mnemosign and onirosign among surpassed signs; genesign is the second kind of time-sign, temporal series.
C
SEGMENT ANALYZER / E1 RESEARCH TOOL
Segment diagnostic: record facts and relations
Source: the 198-slide deck’s E1 research method. Output unit: a segment relation report. Fields: facts, conditions, counter-conditions, edition, evidence tier, and open questions.
Record facts first
Describe shots, duration, movement, sound, bodies, space, and editing before naming a concept.
Does perception still lead naturally to adequate action?
If S→A→S′ or A→S→A′ remains effective, movement-image may still dominate.
↗Do optical or sound situations become autonomous from action?
Record possible opsigns/sonsigns and determine whether they function autonomously or as narrative cues.
↗What kind of recognition circuit operates?
Mark automatic recognition, attentive recognition, failed recollection, and dream relaxation separately.
↗Which temporal relation organizes the images?
Distinguish crystal, sheets of past, peaks of present, and genetic series; non-linearity describes only the surface structure.
↗Does a final truth still adjudicate narration?
Multiple viewpoints and unreliable narrators may preserve a final tribunal; determine whether adjudication itself enters metamorphosis.
↗How do cuts, sound, and image relate?
Distinguish continuity, discontinuity effects, irrational cuts, and autonomous sound/visual series.
↗How are thought, body, and politics forced into existence?
Test attitudes, gestus, brain-like connections, the intolerable, and a people not yet given; their image-relations provide conceptual evidence.
↗Keep a composite conclusion and counter-evidence
Movement-image and time-image relations may coexist in one segment; conclusions record evidence strength, counter-conditions, and open questions.
E1 · E1 research model
Output: segment relation report
Segment facts → supporting conditions → counter-conditions → edition and page → film-evidence tier → provisional concept combination → open questions. Interactive saving: planned.
198-SLIDE REVIEW / PROVENANCE MATRIX
Deck provenance tiers
P1: primary-locatable relations in slides 163–190, with node-level pagination. S1: slides 147 and 195, based on Deamer’s three syntheses. X1: slides 172–186 and 192–194, crossing Matter and Memory, Difference and Repetition, A Thousand Plateaus, or psychoanalysis. E1: diagnostics, coordinates, algorithmic extensions, matrices, and the ‘eleven rooms’ in slides 84, 148–149, 191, and 196–198.
Scene-evidence library: 49 clip entries planned; viewing links and scholarly evidence maintained separately; public videos require stable URLs and clear rights provenance.