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The autonomous world

Here I talk to an ancient text preserved in the drafts, and reading recent Art as Experience (Chapter "Live experience") John Dewey.

"There are things we experience, but no way to compose a experience. There are astray and dispersal: there is no match between, On the one hand, what we see and what we believe, and secondly, what we want and what we get. We have been pursuing the task and then abandon it, then we start we stopped, not because experience has reached the end when she was referred company but because of various interruptions or lethargy inside.
Unlike this type of experience, we experience when the material is the object of experience goes all the way to its realization. There may be some work that is completed satisfactorily, a problem which is solved: a game that was continued to the end, what a situation that it is (a wine tasting dinner, chess, conversation, writing a book, or participation in an election campaign) that is made so smoothly that his term is a non-completion and termination. Such a experience as a whole: it has its own characteristics which individualize and stands on its own. This is of a experience. "

When I see a great movie and I go home, that I stuffed all the way to the street Schools to Becon les Bruyeres, I have, all along the way, several times the opportunity to see my frustration about the lack of reality, one that is under my feet, compared to that on screen. I went out the upset Judgement at Nuremberg Stanley Kramer , walking in the street completely stunned, about to moan with pain and grateful ending up not knowing very well the reasons for my excitement, even if the film or the irremediable gap between our world and its projection, the film world as rectifier, necessarily the world afterwards. I do notice now that one thing that I would not have noticed if it had not been repeated hundreds of times until this painful frustration is gradually brought into consciousness. The contrast is too cruel experiments between the films entire show, the and the actual sketches unfinished. Experiments film happen in court, deserts, roads, castles, towns or transfigured, there is a kind of pump sites announcing the force of history. The real movie is missing: the "real road movie" or "movie kiss" that beg our experiences. I do not know what heralded by our subway platforms, streets full of shops closed, advertising that shine without us, speeches that speak to us. It can of course be some love stories and sad despite the chaos it is perhaps not naively think that what we see in our world overdetermines the horizon of his stories possible, fortunately for us there is a cinema that is interested in this. Conversely, therefore, cinema, beauty is visible and foreshadows the beauty of what will be vécu.Une certain naivety in the habits made me believe that cinema was referring to life, I seek these references . So I end up rummaging through the heart of my life where such experiments are visible and livable. Where is the intensity of the reports, the real conflict, real passions and real problems? The film gives us to see a world in feeling forever young, young physically, morally youth and even young immorally a world firsts and discoveries. What is meant by "young"? Nothing but the world of the impossible as usual lethargy of thought, feeling and look.

"The difference between the two [perception and recognition] and immense. Gratitude is a perception interrupted before it has had a chance to develop freely. In the act of recognition it is the embryo an act of perception. But it does not leave the embryo can develop into a complete perception of the thing recognized. When it comes to recognition, we use as a stereotype, to any pre-established pattern. A detail or assembly details is the trigger for easy identification. For recognition, it suffices to apply this brief sketch as a stencil to the object. Sometimes, in the presence of an individual, we are struck by lines which we were not aware beforehand. We realize that we did not know the person before, we had not seen in the strong sense of the word. We then begin to study and record. The collection replaces the simple recognition.

Recognition is [...] too simple an act to create a state of acute awareness. The simple act of recognition boils down to affix a suitable tag. This kind of recognition does no thrill of the body, nor any internal turmoil. Conversely, an act of perception proceeds by waves which propagate in series throughout the body. Therefore, the perception does not in any case to see or hear with extra emotion. The perceived object or scene is emotionally charged from beginning to end. When an emotion has been aroused and it does not saturate the material that is the object of perception or thought, it is preliminary or pathological. "

can not be limited, or say that past a certain frequency of movie attendance, we can no longer be confined to the mere pleasure of telling stories and making by thinking of something insidious going on, a gap is widening and it finally discern that there may be rivalry between two versions of the world, one, that of the man in the street independent of its persistence, its mediocrity and as usual, steeped in experience, projects and unfinished sentences, interrupted. The other, the cinema, independent of its construction, its psychology, its coherence and feelings led, and even completed finished.

Dewey reconcile us by telling us that the characteristics of a complete experience that can not find the film serves only one thing: the perception, by increasing the sensitivity of what constitutes a experience in our own lives, a sort of recognition-perception.