The Organology of Dreams and Arche-Cinema
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I argued in Le temps du cinema - the third volume of Technics and Time, translated as Cinematic Time and the Question of Malaise – that we must refer to arche-cinema, just as Jacques Derrida spoke (in Of Grammatology and beyond) of arche-writing. I propose, in principle, the dream is the primordial form of this arche-cinema and this is why an organization of dreams is possible. The arche-cinema of consciousness is the projection resulting from the play between what Edmund Husserl called, on the one hand, primary and secondary retentions, and what I, on the other hand, call tertiary retentions: the hypomnesic traces (i.e., mnemo-technical traces) of conscious and unconscious life. There is arche-cinema to the extent that for any noetic act – for example, in an act of perception – consciousness projects its object. This indicates that arche-cinema has a history which might be conditioned by the history of tertiary retentions. It also means that there is an organology of dreams.
Abstract
I argued in Le temps du cinema - the third volume of Technics and Time, translated as Cinematic Time and the Question of Malaise – that we must refer to arche-cinema, just as Jacques Derrida spoke (in Of Grammatology and beyond) of arche-writing. I propose, in principle, the dream is the primordial form of this arche-cinema and this is why an organization of dreams is possible. The arche-cinema of consciousness is the projection resulting from the play between what Edmund Husserl called, on the one hand, primary and secondary retentions, and what I, on the other hand, call tertiary retentions: the hypomnesic traces (i.e., mnemo-technical traces) of conscious and unconscious life. There is arche-cinema to the extent that for any noetic act – for example, in an act of perception – consciousness projects its object. This indicates that arche-cinema has a history which might be conditioned by the history of tertiary retentions. It also means that there is an organology of dreams.
참고문헌 (12)
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