Body and light in image production

Abstract

In the Deleusian bergsonism we find references to an image philosophy, if not philosophy, certainly to a close analogy between the machinery of image production and the machinery of access to ontological memory. While in photography the focus is usually to obtain a clear image, in memory theory the focus is to reach the point where pure perception and pure memory are cut, intersect and rebond, that is, the focus on memory theory is effectively the point where the passage from experience to the conditions of experience takes place. The focal point that Deleuze refers to the moment when the two directions, perception and memory, are distinguished and reconnected, is reached by intuition from a machinism that combines three points inserted in a juxtaposition mechanics: confused point, precise point, virtual point. As in a camera, the focus is acquired from a combination of elements indispensable for the production of the image, so that this focus is the result of the management of factors that unfold relating distance, amount of light and time. Faced with the machinisms of photography and memory, we propose to relate the production of the image with the body, whose source is the bergsonism itself that does not hesitate to treat the relationship between body and soul from the material energetic crossings, whose minimum thesis is the image.