How do archives shape the past we remember? How do platforms arrange the next moment? How can viewers pause, revisit, or alter these relations? Begin with memory, sound, and bodies in cinema, read two theoretical proposals, compare films, and explore the organization of time through shooting and editing exercises.
Read two proposals about archives and platform time, compare their film cases, or explore six planned exercises in shots, sound, duration, and bodies.
Beginning with action, memory, and audiovisual relations, P4 extends the study of Deleuze’s cinema philosophy into archives, platforms, and the politics of viewing. Each topic connects film analysis with primary passages and scholarship.
Making forces an abstract claim into position, duration, light, sound, body, and edit. A failed exercise is not merely a failed theory; it is evidence showing which condition was too loose and which relation was still covertly secured by action.
Read 2 P4 proposals in full. The following 6 paths examine time in bodies, archives, sounds, and platforms, with specific claims, films, and points of disagreement.
The crisis of the action-image is not simply slowness: a body may keep moving while what it sees no longer extends naturally into an action adequate to the situation. This only opens the problem of direct time; further proof must show how pure optical and sound situations, crystals, temporal series, or audio-visual intervals reorganize movement.
Falsification boundary Silence, a long take, or staring do not establish the crisis; even a failed sensory-motor link completes only the first diagnosis. A time-image requires identifying the new temporal relation that takes over the organization of shots.
Open the complete research pathThe crystal-image is not defined by a mirror or a doubled character, but by actual and virtual appearing together, remaining different, and rewriting one another.
Falsification boundary A mirror is not automatically a crystal; a flashback that merely supplies causality does not establish an actual–virtual exchange.
Open the complete research pathSound is not atmosphere added to an image; it can leave its visible source and reorganize space, memory, and ethical pressure.
Falsification boundary Offscreen voice, a blast, or silence is not automatically a sonsign; show how sound gains a time relatively autonomous from the image.
Open the complete research pathWhen action is no longer governed by a goal, the body leaves time in the situation through waiting, repetition, fatigue, touch, and attitude.
Falsification boundary A long take, stillness, or a suffering subject is insufficient; body–brain must be shown through a redistribution of perception and power.
Open the complete research pathContemporary platforms turn dwell, skip, and replay into system inputs, making the next item an outcome of ranking and scheduling; time is therefore not only presented in images but governed while viewing occurs.
Falsification boundary Interactivity, real-time response, and probability are not Deleuze’s virtual; distinguish computable branches from an indiscernible temporal relation.
Open the complete research pathCinema's political force lies not only in exposing the intolerable but in rearranging who keeps an archive, who translates a language, how absences are marked, and whether a collective can help determine history's visible form.
Falsification boundary Equating a minor cinema directly with “the people” erases power differences; show how a new collective is made in form.
Open the complete research pathThe exercises do not imitate a director's surface style. Each changes one decisive condition, then submits the result to collective viewing to see whether the relation genuinely changes.
Film a character whose perception fails to become action. Keep psychology implicit; let space and sound bear the pressure.
≤6 shots · 2 min · sync soundUse performance, reflection, recording, or repetition so a second image copies and transforms the first in return. Criterion: reciprocal exchange.
Actual version + virtual version + exchange pointLet three sheets of the past emerge in one space through sound, objects, and bodily attitudes. Keep eras and recollection cues unmarked.
3–5 min scene + sheet-of-time mapFilm two series beyond spatial continuity and psychological causality. Use one cut to make them act upon each other while keeping the relation irreducible.
A/B series · one decisive cutChoose fatigue, waiting, awkwardness, or ritual and let social relations and theme emerge among attitudes.
Implicit theme · three attitude shiftsGive sound and image distinct temporal series, then let their autonomous structures meet at a boundary.
60–90 sec audio-visual studyA curriculum of eight seminars and six film exercises. Registration is not open.
The site does not merge Deleuze's text, scholarly interpretation, editorial synthesis, and P4 propositions into one voice. The 2 current formal propositions derive only from two citations explicitly labelled as atlas research proposals, and each publishes inheritance, modification, cases, falsifiers, and evidence limitations.