ABSTRACT
The exhaustive, the permutative as the endlessness of the return of the same/seeming same, produces the need (here is where reflexivity comes in) to decipher/arrest the image and structure. Structurings, constantly in process, defence against pre-given meaning, a defensive practice: the process of materialist experimental film-work is the constant movement of eye and brain, contradictions inseparable from the processes of the film as material, and as materialist, i.e. constantly transforming the represented in relation to the operation of the cinematic apparatus and its ideologies. Ideologies of viewing and of the viewed. The dialectic of subject and object. Durations (shots, sequences, moments are always simultaneous to constant contradiction
