1 / Articles (Bellour) 83
the “general redistribution” resulting from progress in scientific knowledge of the brain. He based his arguments on a number of scientific works: Gilbert Simondon,to whom he had long been frequently referring, particularly to his book
L’individu etsa genèse physico-biologique
Raymond Ruyer and his
Genèse des formes vivantes,
Steven Rose and his
The Conscious Brain
justpublished by Jean-Pierre Changeux (1983).
Deleuze was inspired by them todevelop a conception of the “brain as an acentred system”. He focused particularlyon the opposition between electric and chemical transmission from one neuron toanother. The former produces breaks that can be called “rational”, while the latterproduces “irrational” ones, assuming a random or semi-random factor.
We notice, and this is essential, that these two types of break between neuronsare analogous to the comparison that Deleuze makes between
, between the types of link belonging to each of these two mainforms of image: the rational interval of the action image, the irrational interstice thatmakes the crystal-image.While Deleuze recognised the cinema as a brain (or brain-body), it is essential for aneurobiologist to be able to recognise the brain (brain-body) as cinema.This is, for example, the case of António Damásio, by continuous references inhis three major books published between 1994 and 2003:
Descartes’ Error: Emotions,Reason and the Human Brain
The Feeling of What Happens: Body and Emotion in the Making of Consciousness
Looking for Spinoza: Joy, Sorrow, and the Feeling Brain.
, even before the word cinema had been spoken, it is themetaphor of the film conveyed by the image of the train that imposes itself: “Iconceptualize the essence of feelings as something you and I can see through awindow that opens directly onto a continuously updated image of the structure and