9.23.2010

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A course is a kind of Sprechgesang,closer to music than to theater.
Indeed there's nothing in principle to stop courses being a bit like a
rock concert. 




's nothing in principle to stop courses being a bit like a
rock concert

It must be said that Vincennes (and it was the same after
we'd been forcibly transferred to Saint-Denis) provided exceptional
conditions. In philosophy, we rejected the principle of "building up
knowledge" progressively: 




there were the same courses for first-year
and nth-year students, for students and nonstudents, philosophers
and nonphilosophers, young and old, and many different nationalities.




ilosophy, we rejected the principle of "building up
knowledge" progressively: 


there were the same courses for first-year



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There were alwaysyoung painters and musicians there, filmmakers,
architects, who showed great rigor in their thinking. They were
long sessions, nobody took in everything, but everyone took what
they needed or wanted, what they could use, even if it was far removed
from their own discipline 






There was a period marked by abrupt interventions,
often schizophrenic, from those present, then there was the
taping phase, with everyone watching their cassettes, but even then
there were interventions from one week to the next in the form oflittle
notes I got, sometimes anonymously.






 phase, with everyone watching their cassettes, but even then
there were interventions from one -------------------------------------------There's a special relation between philosophy and neurology,

which comes out in the associationists, in Schopenhauer, in Bergson.osophy and neurology,

which comes out in the association



Our current inspiration doesn't come from computers but from the
microbiology of the brain: the brain's organized



, more
like grass than a tree, "an uncertain system,,,with probabilistic, semialeatory,
quantum mechanisms. It's not that our thinking starts from
what we know about the brain but that any new thought traces
uncharted channels directly through its matter, twisting, folding, fissuring
it. 


It's amazing how Michaux does this. New connections, new
pathways, new synapses, that's what philosophy calls into playas it creates
concepts, but this whole image is something of which the biology
of the brain, in its own way, is discovering an objective material likeness,
or the material working.


Something that's interested me in cinema is the way the screen
can work as a brain, as in Resnais's films, or Syberberg's. Cinema



 What was interesting about pop videos at the outset
was the sense you got that some were using connections and
breaks that didn't belong to the waking world, but not to dream
either, or even nightmare. For a moment they bordered on something
connected with thought. This is all I'm saying: there's a hidden
image of thought that, as it unfolds, branches out, and mutates,
inspires a need to keep on creating new concepts, not through any
external determinism but through a becoming that carries the problems
themselves along with it.



 everyone took what
they needed or wanted, what they could use, even if it was faR