In a recent post I pointed to some threads of thought from an article by Colin Gardner which I experienced as highly interesting for its effort to deduce a theory of multiplicity within the visual from a synthesis of Bergsonian and Deleuzian terms and interpretations.
In the following excerpt he continues to outline his thought process into the unthinkable defined in an analysis of the cinematic image …. becoming the cinema of brain: as unlinked images, multiple voices, each secreted inside another voice, each extending to infinity. There’s no longer a whole thinkable through montage, or an internal monologue utterable through an image.
At the moment when he comes to look at the point of the Bergsonian difference as a durational multiplicity (see last post or text) the shattering of the ‘internal motor’ (i.e. time- image) has to be marked for a full understanding of the liberated temporality. Thus he relates to the Deleuzian crystal image with its double-sided nature of the actual and the virtual:
.. to come via the unthinkable to this definition of embodiment for the movement of the interstice:
As Deleuze confirms, when we think, ‘it is not the gods which we encounter: even hidden, the gods are only the forms of recognition. What we encounter are the demons, the sign-bearers: powers of the leap, the interval, the intensive and the instant; powers which only cover difference with more difference.’ For Deleuze, ever the Spinozan, the unthinkable of thought, the aporia that decenters thinking from thought in the form of a movement of difference, lies in the motion of a body, with all of its affects, percepts, impulses and intensities.