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Film-Philosophy Conference 2012

King's College London; Queen Mary, UoL; Kingston University
September 12, 2012 – September 14, 2012

Keynote Speakers:
Bernard Stiegler (Goldsmiths, University of London; University of Technology of Compiègne)
Francesco Casetti (Yale University)
Ken McMullen (Director of Ghost Dance)
Libby Saxton (Queen Mary, University of London)
Damian Sutton (Middlesex University)

Schedule - Day 2
Thursday 13 September 2012

8. Thinking with Video
Lilly Husbands: Grasping at the Intangible: A Phenomenology of Digital Abstraction in Bret Battey’s Sinus Aestum
Andy Weir: The 4th unspoken horror of 24 Hour Psycho, or thinking Meillassoux’s ‘dia-chronic statement’ film-philosophically
Trine Riel: 'Why I am so Clever'; Myopic Philosophy (video-essay)
Dean Kenning: Metallurgy of the Subject (15 min animation)


Quentin Meillassoux has used the term ‘arche-fossil’ to describe that indicative of the ‘ancestral event’ exterior to terrestrial timescales, which science can nonetheless make meaningful ‘dia-chronic’ statements about, throwing correlationist thought into paradoxical confusion. Film, however, has a different relation to the arche-fossil and to the dia-chronic, manifesting or performing temporal collisions and entanglements through its material embodiment of temporalities. This paper explore questions opened up around such filmic embodiments that resist, do not rely upon, or are indifferent to subjective reconfiguration, gestures toward an image-thought without limit. It does this through outlining a diagrammatic showing of two different film-events - defined here as series of decisions or operations as image-thoughts for the real.

The first is 24 Hour Psycho, the artist Douglas Gordon’s 1993 appropriation of Hitchock’s 1960 film, where the original is slowed to last 24 hours. It is discussed here in terms of its production of three times of horror, which point to but are contained within a subjective frame, leaving a ‘4th horror’ of cosmic indifference to the subject unspoken. The film Into Eternity, (Michael Madsen, 2009), by contrast, alludes to a time span exterior to and indifferent to that of the human – that of ‘deep time’, in which the film becomes entwined, figure for twisting this ‘outside’ into experience. To film this diachronic entanglement is to ask a paradoxical question - how a world radically inassimilable to experience can be included within it, how it can be manifest as non-manifest - Its tentative response: as opaque abandoned image; as virulent surface; and as duration of exposure to deep time.