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"Only images in the mind vitalize the will. The mere word, by contrast, at most inflames it, to leave it smoldering, blasted. There is no intact will without exact pictorial imagination. No imagination without innervation." WB "One Way Street"
The collective is a body, too. And the physis that is being organized for it in technology can, through all its political and factual reality, only be produced in that image sphere to which profane illumination initiates us.
Only when in technology body and image so interpenetrate that all revolutionary tension becomes bodily collective innervation, and all the bodily innervations of the collective become revolutionary discharge, has reality transcended itself to the extent demanded by the Communist Manifesto. WB "Surrealism"
"Walter Benjamin used the word innervation to describe how the nervous system changes fundamentally through one’s interaction with moving images. We must achieve synchronicity with the moving image in order to fully inhabit the technological world, he thought. Otherwise we will be destined to serve technology. “Film serves to train human beings in those new apperceptions and reactions demanded by interaction with an apparatus whose role in their loves is expanding almost daily,” Benjamin wrote in “The Work of Art in the Age of Mechanical Reproduction.” “To make the enormous technological apparatus of our time an object of human innervation—that is the historical task in whose service film finds its true meaning.”
"Benjamin believed that the audience relates to the situation of the actor facing the camera, seeing it as analogous to that of the worker undergoing an aptitude test before her manager. And because of this, since this experience of testing is one that they understood from their own lives. More profoundly, Benjamin held out the utopian promise that cinema could break us out of habitual and deadening patterns of thought, so that we might see and experience the world anew. The introduction of the movie camera penetrated our reality, exploded our world in a split second, engendered what he called “the optical unconscious.” Charlie Chaplin and Mickey Mouse were just as radical as modernists like Picasso, and no special education was required to appreciate their art."
The history which he lays before the reader comprises, as it were, the citations occurring in this text, and it is only these citations that occur in a manner legible to all. To write history thus means to cite history" (Arcades Project NII,3).
"The events surrounding the historian, and in which he himself takes part, will underlie his presentation in the form of a text written in invisible ink."
“The present reading stops where intervention should, belatedly, begin.”