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• W2332488673 abstract "The neuro-image, according to Patricia Pisters, is the successor to Deleuze’s time-image, which for him succeeded the movement-image, the proviso being that all these forms of the image are not mutually exclusive. The temporal disjunctions and spatial dislocations of the time-image expressed the modern (Western) world’s traumatic encounters with war and genocide. The neuro-image expresses the twenty-first century condition of the ‘proliferation of screens, data, and information of contemporary globalised media culture’ (197). Rather than acting as prostheses of memory, these screens somewhat replace it with seemingly infinite databanks whose recombinant logic echoes the synaptic processes of the ‘circuits and linkages of the brain’ (3). This is one aspect of the neuro-image. The other is characterised by the delirious linkage of images enabled by the schizoid brain functioning of film protagonists, characters, such as Arthur Edens (Tom Wilkinson) in Michael Clayton (Tony Gilroy, USA, 2007) or Evan Trebornin (Ashton Kutcher) in The Butterfly Effect (Eric Bress and J. Mackye Gruber, USA/Canada, 2004), whose neurological brain disorders create ‘the reality of illusions’ (12) in a world in which human minds are conduits for powers beyond their control. Pisters says that this delirium cinema, which she elaborates referring to films as diverse as The Prestige (Christopher Nolan, USA/UK, 2006), Inland Empire (David Lynch, France/Poland/USA, 2006) and π/Pi (Darren Aronofsky, USA, 1998), calls for schizoanalytical methods to read a symptomatology that resists and fits with the schizophrenic logic of capitalism. The book is divided into three parts: Neuroscreens: Principles of the Brain; Neurophilosophy: Turning Madness into Metaphysics; Neuropolitics: Transnational Screen Connections; each part overlapping with the others in an interdisciplinary adventure with neuroscience, film and cultural theory, and philosophy, one methodological approach predominating in each section. Part One brings neuroscience together with a post-Deleuzian filmphilosophy that takes off from Deleuze’s maxim that ‘the brain is the screen’ (3). Pisters sometimes takes this quite literally, her use of neuroscientific research creating a tendency to make claims about neuro-spectatorship which reduce fantasy and subjectivity to automatic brain functioning. That experiments using fMRI scanning as well as the theory of mirror neurons provide evidence that the same parts of the brain are activated by the" @default.
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• W2332488673 date "2015-01-01" @default.
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• W2332488673 title "Patricia Pisters: The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture, Stanford University Press, California, 2012, 370 pp." @default.
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