I
have
clipped
some
notes
on
sound
by
Robert
Bresson: "Sight
and
Hearing"
To
know
what
business
that
sound
(or
that
image)
has
there.
*
What
is
for
the
eye
must
not
duplicate
what
is
for
the
ear. *
If
the
eye
is
entirely
won,
give
nothing
or
almost
nothing
to
the
ear.
And
vice
versa,
if
the
ear
is
entirely
won,
give
nothing
to
the
eye.
One
can
not
be
at
the
same
time
all
eye
and
all
ear. *
When
a
sound
can
replace
an
image,
cut
the
image
or
neutralize
it.
The
ear
goes
more
toward
the
within,
the
eye
toward
the
outer. *
A
sound
must
never
come
to
the
help
of
a
image,
nor
an
image
to
help
the
of
sound. *
If
a
sound
is
the
obligatory
complement
of
an
image,
give
preponderance
either
to
the
sound
or
to
the
image.
If
equal,
they
damage
or
kill
each
other,
as
e
say
of
colors *
Image
and
sound
must
not
support
each
other,
but
must
work
each
in
turn
through
a
sort
of
relay. *
The
eye
solicited
alone
makes
the
ear
impatient,
the
ear
solicited
alone
,makes
the
eye
impatient.
Use
these
impatiences.
Power
of
the
cinematographer
who
appeals
to
the
senses
in
governable
way.
Against
the
tactics
of
speed,
of
noise,
set
tactics
of
slowness,
of
silence. I
try
to
make
repairs
in
response
but
only
to
confuse
you
even
more.
Take
this
picture
for
example.
Listen
to
the
image
presented
as
it
is
broken
within
the
eye.
Do
you
hear
the
horse
running,
bursting
to
break
free
through
the
sandy
shore?
Open
your
eyes
and
you
will
hear
nothing
but
seagulls.
Watch
out
for
they
might
shit
on
you,
unintentionally.
=> info | Construct a last
Exhibition: The Last Performance [dot org] @ Haus Der Kulturen Der Welt