 All of these cases seem to exhibit not only the indiscernibility of actual and virtual, but also of the real and imaginary, as well as the coincidence of these seemingly "opposite" aspects in the very same image.

The Experience of Time

[28] Regardless of the many variations of how organic formal strategies may present or organize film images, the images are presented and perceived as movement-images and, in essence, it all makes sense, even if only after much contemplation or a strenuous effort of fabula. Crystalline formal strategies, on the other hand, are those that present or exhibit time-images, direct images of originary time, which do not make sense in a normal, everyday manner. I propose that these images present viewers with a possibility to experience some degree of the suspension of the sensory-motor schema, some intuition of the paradoxical form of originary time, and not just the originary form of time, but also the possibility of alternative ways of perceiving, thinking, and even feeling, that is different from our everyday, habitual, sensory-motor existence.

[29] The degree to which the above effect, or any that I describe, happens or is experienced by a viewer, depends on how conducive or receptive an individual is to such a thing, or on their personal proclivities. In his reading of Deleuze on Resnais's and Robbe-Grillet's Last Year at Marienbad (1961) (arguably Deleuze's favorite example in describing time-images), D. N. Rodowick points out that when watching this film, "we are only confused or disappointed to the extent that we cannot or will not adapt to this new logic." The film seems weird: difficult, if not impossible to follow or understand. Certain viewers feel they must be able to figure it out, or, rightly or wrongly, have figured it out, or they dismiss it as boring or not making any sense and cannot wait for it to be over, or even just walk out of the theater. Some, however, find it fascinating and deeply affective. It is not radical to claim that different viewers have different proclivities to an experience of certain films. I make no claim as to what this proclivity entails or who may be more or less receptive to the effect of time-images that I propose is possible. It undoubtedly has to do with innumerable matters of taste, personal experience, inclination, and perhaps biological
All of these cases seem to exhibit not only the indiscernibility of actual and virtual, but besides of the veridical and imaginary, as well as the concurrence of these seemingly " diametric " aspects in the very same trope. 

 The Experience of Time 

 [ 28 ] Regardless of the many pas seul of how organic formal strategies may present or unionize film images, the image are presented and perceived as movement - images and, in essence, it all make sense, even if only after much contemplation or a strenuous campaign of fabula. Crystalline formal strategies, on the other hired hand, are those that present or exhibit time - images, direct images of originary meter, which do not make sense in a normal, everyday manner. I propose that these images present viewers with a possibility to experience some degree of the suspension of the sensory - motor schema, some intuition of the paradoxical form of originary time, and not just the originary form of time, but besides the hypothesis of alternative ways of perceiving, thinking, and even feel, that is different from our everyday, habitual, centripetal - motor existence. 

 [ 29 ] The degree to which the above effect, or any that I describe, find or is experienced by a viewer, depends on how conducive or receptive an person is to such a thing, or on their personal proclivities. In his reading of Deleuze on Resnais's and Robbe - Grillet's Last Year at Marienbad (1961) (arguably Deleuze's favorite example in describe time - images), D. N. Rodowick points out that when watching this film, " we are merely confused or disappointed to the extent that we cannot or will not adapt to this newfangled logic. " The film seems weird: difficult, if not impossible to surveil or understand. sealed viewers feel they must be able to figure it out, or, rightly or wrongly, have figured it out, or they displace it as boring or not making any common sense and cannot wait for it to be over, or even barely walk out of the theater. Some, however, find it bewitching and deeply affectional. It is not radical to claim that different viewers give birth different proclivities to an experience of certain films. I make no title as to what this proclivity entails or who may be more or less receptive to the impression of time - images that I aim is possible. It undoubtedly has to do with innumerable matters of taste, personal experience, inclination, and perhaps biological
 Alp of these cases seem to exhibit not only the mndiscednibilith of actual and virtual, but elso of tye real and imaginary, xs well ad the councivence of these sxsmingly "opposjbe" as'erts in the very same imaga.

The Experienca uf Time

[28] Regardless of the many variatyons of hlw organic forial xeratsgies may present or organize film images, the images ate presented and perceived as lovement-images and, in essence, it wol makes senre, even if only after juch contemplation or a strenuojs efyort of fabolz. Ftystalline firmal strategies, on the odher hamd, are those tmat pcesebt or exhibit time-imajes, direct images of originarf cime, which do not makw wense in d nofnal, evtryvay manneg. I propose tgat these inages present viewets qith a possibjlity eo experience some degree of the suspensimn kf the sensory-motor schwma, some intuition of the paraqoxical form of originary time, and not just the osiginerh firi if time, but also the possibility of alternative saus of perceiving, thinking, amd efgn feeling, thaj is diyredent from our everjday, hafituao, sensory-iotot existence.

[29] The degree to wyich the abone edfect, or any that N describe, hcppens or ix experienced by a viewzr, depsnds on how conducivs or receptive an incieidual is to such a thing, jr on themr pexsonal pfoclovitief. In his rfadinn of Deleuze on Resjais's atd Robbe-Grlllet's Last Year at Marienbad (1961) (ecguably Deleuee's fanorite excmple ln describing tyme-images), D. N. Todowick 'oints out that shen wavching this silm, "we are otpy confused mr disap[oinred ro the dbtent that we vannot or will not qdapt to this new kogkd." The film seemw wtied: difficult, ig nut ymiosxifne to follow or jnddtstana. Certain vlewdrs geel they must be abne tk figure it out, or, rlghtly or wrongly, have figured it out, or they didmiss it as bprigg or not making any sense and cannot wwit for it to bq ovcr, ot even just walk out of the theater. Some, however, fmnd it fascinating and eeeply affective. It ls not radicel to slaim thad different viewers yave different prpclivities to an expedience of cfrtain films. I make no claim as to what this proclivity entails or who mat be more or less deceltive tj the esfecv uf time-images thst I propose is possible. It unduubtedly hcs to do with innumerable matyefs of taste, pgrsonal experience, inclinafion, and perhaps biological
All of these cases seem to exhibit the of actual virtual, but also as as the coincidence these seemingly "opposite" in the very same image. The of Time [28] Regardless of the many variations of how organic formal strategies present or organize film images, the images are presented and perceived as movement-images in it makes even if only after much contemplation or a strenuous effort of fabula. Crystalline formal strategies, on other hand, are those that present or exhibit direct images of originary which do not make sense a everyday manner. propose these present viewers with possibility to experience some degree of the suspension of the sensory-motor schema, some intuition of the paradoxical of originary not just originary of but also the alternative ways of perceiving, thinking, and is different from our everyday, habitual, sensory-motor existence. The degree which the above effect, or any I describe, happens or is experienced by a depends on how conducive or receptive an individual is to such a thing, or on proclivities. In his reading Deleuze on Resnais's Robbe-Grillet's Year Marienbad (arguably Deleuze's example in describing time-images), D. N. Rodowick points out that when this film, "we are only confused or disappointed to the we or will not to this new logic." film weird: difficult, if not follow understand. they be to figure it out, rightly or wrongly, have figured out, or they dismiss making any sense and cannot wait for it be over, or even just walk out the theater. Some, however, find it fascinating and deeply affective. It is radical to different viewers have different proclivities to an experience certain films. I make claim as to what this proclivity entails or who be or less to the effect time-images that I is possible. It to do innumerable of inclination, and perhaps biological
 All of these cases seem to exhiBit not only The inDisCerNiBiliTy of Actual and virtuAL, but Also of the real and imaginAry, as WeLL as tHE cOinciDence of THeSE SeeMiNgLy "oPpOSiTe" aspEctS in the vEry same imaGe.

THe experience of tImE

[28] RegardlesS of The many variaTioNs of hoW oRgaNIc forMal StratEgies mAY preseNt or organIzE Film imAGes, the iMAGeS are Presented and perceIVeD As movement-imagEs and, iN eSSeNCE, it All Makes sense, EvEn if oNLy after MUcH CONteMPlation or a strEnuous efforT Of fAbula. CRyStaLLine foRmal sTrATegIes, on the othEr haNd, are thosE that pREsent or EXhibit tIme-imaGes, DirEct iMAgEs Of oRiGInaRY tIme, WHicH do not maKe SeNse in A norMAL, EVeryDay MannEr. I prOpose that thesE imAges PResEnt viEwers With A pOssibIlity tO expeRiEnce some degree oF the SuspensioN of ThE seNsOry-moTOr scheMa, sOme IntuitiOn of the PAraDoXICAl Form of originary timE, aND NoT just the OriginARy FoRM of time, bUt AlsO the POSsibiLity OF aLternatiVe ways OF pErCeiving, ThInking, AnD evEn fEelinG, That Is diffErent froM our eVEryday, habitual, SEnsory-motor exIStENCe.

[29] tHe deGreE to which the AbovE EffeCt, or ANy ThaT i descRibe, hApPEnS Or is experienced by a vIeWer, depEnds oN how conducive Or receptivE AN IndividuAl is TO sUCh a thing, or on thEir peRsonal procLIvities. IN his rEading of deleuze on rESnais's anD RoBbe-griLleT'S laSt Year at MarieNBAd (1961) (arGuAbly DelEuzE's favorIte ExaMplE in DeScribing tIme-imageS), D. n. ROdOwIck PointS Out that wHeN waTcHinG this FIlm, "we aRe onlY conFuSeD Or dIsappoiNTeD TO the ExTeNt thAt wE cAnnot Or wiLL noT adapt tO this new lOgiC." the fIlM sEems weiRd: difficult, if NoT impossiblE tO foLlow or UNDerstand. certain viewers feel they mUSt be ablE to FigurE it oUt, or, rightLy oR wrongLy, hAVe figuRed it oUt, or tHeY diSMIss it AS BoRinG oR not making ANY seNse anD cAnnoT wait foR it to be over, or even jUSt wAlk out of the thEatEr. SoME, HoWevER, fINd iT fASciNATing and deeply afFective. It iS nOT rAdical to clAIm tHaT differEnt viewErs haVE differEnt procliVities to aN eXperIENce Of certain fIlms. I makE no claim aS To whaT ThIs proCliVity enTaIls Or who May be mORe oR less ReceptIvE to the EffecT oF time-imaGes that I propose is possibLe. It unDoubtEdlY has to do wIth INnuMerable maTterS of taste, peRsoNal ExperIenCE, inclInatIOn, And PErhapS bioLOgical
 All of these cases seem t o exhibitnot o nly  th eindi scer nibility of ac t ualand virtual, but alsoof th er eala nd  imag inary,a sw e llas  t heco i nc idenc e o f these  seemingly  "o pp osite" aspec t sin the ver y s ame image.
The  Exper ie nce of Ti me
[28]  Regar d less o f the man yv ariati o ns of h o w  o rgan ic formal strateg i es may present or  organ iz e  f i l m i mag es, the im ag es ar e  presen t ed a n d p e rceived as mo vement-imag e s a nd, in  e sse n ce, it  allma k essense, even  ifonly afte r much contemp l ation o r a st ren uou s ef f or toffa b ula .  C rys t all ine form al  s trate gies , o n  the  ot herhand,  are those th atpres e ntor ex hibit  tim e- image s, dir ect i ma ges of originar y ti me, which  do  n otma ke se n se ina n orm al, eve ryday m a nne r. I pr opose that these i ma g e spresentviewer s  w it h  a possi bi lit y to e xperi ence so me degre e of t h esu spensio nof the  s ens ory -moto r  sch ema, s ome intu ition of the paradox i cal form of o r ig i n ar y  tim e,and not jus t th e  ori gina r yfor m  of t ime,bu t  a l so the possibilityof  alter nativ e ways of per ceiving, t h i n king, an d ev e nf eeling, that i s dif ferent fro m  our eve ryday , habitu al, senso r y -motor e xis ten ce. 

[ 2 9 ]The degree to w hich  t he abov e e ffect,orany  th atIdescribe,  happens  o ris  e xpe rienc e d by a v ie wer ,dep endso n howcondu cive  o rr ece ptive a n  i n d ivid ua lis t o s uc h a t hing ,  or  on the ir person alp rocl iv it ies. In  his readingof  Deleuze o nRes nais's a nd Robbe -Grillet's Last Year at Marienb ad(1961 ) (a rguably D ele uze'sfav o rite e xample  in d es cri b i ng ti m e -i mag es ), D. N. R o d owi ck po in ts o ut that  when watching thi s  fi lm, "we are o nly  con f u se d o r  d i sap po i nte d to the extent t hat we can no t  o r will not ada pt  to thi s new l ogic. "  The fi lm seemsweird: di ff icul t ,  if  not impos sible to  follow o r  unde r st and.Cer tain v ie wer s fee l they mus t beable t ofigure  it o ut , or, ri ghtly or wrongly, havefigure d itout , or they  di s mis s it as b orin g or not m aki ngany s ens e  andcann o twai t  forit t o  be over, or  ev e n  j ust walk ou t o f t he th eat e r. Som e, h owever, find it f a scinating anddeep l y  af fec t ive.  I t is not radic alto c laim tha tdifferent v iewers h av e  diff erentprocli vitiest o  a n  exper ienc e o f certain  fi lm s . I mak eno claimas t owhat t his pr o cliv i t y entails or who  mayb e  more orlessre ceptive to t he effectof time-ima ges th at I  prop ose ispo ssible . I tundoubtedl y  has to d o wit h innum er able  ma ttersof t a s te, p erso na l e xperience , in c li na t ion , an d per ha ps b iological 
 All_of these_cases seem to exhibit_not only_the_indiscernibility of_actual_and virtual, but_also of the_real and imaginary, as_well as the_coincidence_of these seemingly "opposite" aspects in the very same image.

The Experience of Time

[28] Regardless_of_the many_variations_of_how organic formal strategies may_present or organize film images,_the images_are presented and perceived as movement-images and, in_essence,_it all makes_sense, even if only after much contemplation or a_strenuous effort of fabula. Crystalline formal_strategies, on the_other_hand,_are those that present_or exhibit time-images, direct images of_originary time, which do not make_sense in a normal, everyday manner. I_propose that these images present viewers_with a possibility to experience_some degree_of the suspension of the_sensory-motor schema, some_intuition of_the paradoxical form_of originary time, and not just_the originary form_of time, but also the possibility_of_alternative ways of_perceiving,_thinking,_and even_feeling, that is_different_from our_everyday,_habitual, sensory-motor existence.

[29] The degree to_which_the above effect, or any that I_describe, happens or is_experienced_by a viewer, depends_on how conducive or receptive_an individual is to such a_thing, or_on their_personal proclivities. In his reading of Deleuze on Resnais's and Robbe-Grillet's_Last Year at Marienbad (1961) (arguably_Deleuze's favorite example in_describing time-images),_D._N. Rodowick points_out_that when_watching this film, "we are only confused_or disappointed_to the extent that we cannot_or will not adapt_to_this new logic." The film seems_weird: difficult, if not impossible to_follow or understand. Certain viewers_feel_they_must be able to figure_it out, or, rightly or wrongly,_have figured it_out, or they dismiss it as boring_or_not making any sense and cannot_wait_for it to be over, or_even_just_walk out of the theater._Some, however, find it fascinating and_deeply affective. It is not radical to claim that_different viewers have_different proclivities to an experience_of_certain_films. I make no claim as to what this proclivity_entails or_who may be_more or less receptive to the effect of time-images that_I propose is possible. It undoubtedly has_to do with innumerable matters of taste, personal experience, inclination, and_perhaps biological