V.V.(2) "persistence of vision" (38.17)

[David Morris]

>From: "jbor"
>
>OK. So the phrase refers to the trompe l'oeil which enables film frames to 
>simulate motion. In the novel it isn't a film which Benny wakes to but the 
>sight of the three Puerto Rican boys in the train carriage, and Jose's arms 
>and hands playing on his tin drum are "vibrating out beyond the persistence 
>of vision". Does this mean they are moving too quickly for Profane to see 
>them move? So, isn't the reference in the text being applied to what the 
>eye is doing (i.e in relation to perception), rather than to what a film 
>projector does? the limitation of human bio-mechanics so disclosed rather 
>than the technological artifice which discloses it?

No, I'd say it refers to both, especially considering what a strong 
consideration we know Pynchon's given to the invention of the "moving 
picture" as a "pornography," meaning an artificial version of the real.

See this small bit from a page about the development of animation, which is 
only yet another "moving picture:"
http://www.freeweb.pdq.net/headstrong/Persist.htm
"Motion pictures developed from many different traditions, including theatre 
and magic shows, but also from the Victorian fascination with the phenomenon 
of persistence of vision. The human brain retains an image for a fraction of 
a second longer than the eye actually sees it. That is why the world doesn't 
suddenly go black every time you blink. When you watch a movie, what you are 
actually seeing are individual still frames of film projected at 24 frames 
per second. Each of these frames is separated by darkness, so you are 
sitting in a dark theatre about half of the time. The images are 
discontinuous; that is, all of the action that happened between the frames 
is not represented. Because of persistence of vision, what you perceive is 
one image blending into the next, giving the illusion of movement and 
continuity. The dark spaces are "ignored" by the brain.

Persistence of vision has been known about for a long time, but an article 
written by Roget (of Thesaurus fame) in the early 19 th century spawned 
popular interest. After this many novelties and popular entertainments were 
invented based on the principle. (Most with classically based names - the 
Victorians felt using a Latin or Greek name gave credibility to their 
inventions. This tradition of naming cinematic equipment and processes 
lasted much longer; hence Technicolor, Panavision, CinemaScope, and even 
television.) What follows is a brief description of the principal designs, 
and notes on constructing models of them. There were many more devices 
invented than those listed here, which were the major, most influential 
designs."

So with regard to this passage I think of the three Puerto Rican boys' being 
contrasted with the artificially animate.  They are REAL LIFE, which Benny's 
longed for.  He's haunted by the inanimate, but in these three he's found 
some life.

>It resonates with the
>line on the next page describing Benny's dream:
>
>      Walking on a street at night where there was nothing but his own
>      field of vision alive. (39.28)

Yes, this is the world that haunts his dreams AND his waking state, even 
when there are other people around.  His new Puerto Rican "family" is in 
contrast, and stated a a safe refuge (at least for a while) from this 
Inanimate World.

David Morris
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