VLVL2 (9): Fresson-process

[Dave Monroe]

>From Thomas Moore, The Style of Connectedness:
Gravity's Rainbow and Thomas Pynchon (Columbia: U of
Missouri P, 1987), Ch. 2, "Gravity's Rainbow as the
Incredible Moving Film," pp. 30-62 ...

   "Framing in Gravity's Rainbow, then, generally
connotes the imaginative or cognitive energy,
ananlysis, the will to order and systematize, which
both divides and unites, separates and links subject
and object, inside and outside.  Self conceives and
projects a patterned reality (in Pynchon, grids,
labyrinths, sytems, structures, assemblies), such that
the pattern is imagined to have preexisted and can be
introjected, coming back to the self as observation,
intuition, revelation, in a reflex arc.  Artists frame
works of art and critics frame analyses of them;
scientists farme laws of nature in created
mathematical languages, like teh calculus;
historicists frame trending truths, moralists
imperatives, religious mystics and ecstatic paranoids
orders of angels...." (p. 33)

And from Martin Heidegger, "The Question Concerning
Technology," The Question Concerning Technology and
Other Essays, trans. William Lovitt (NY: Harper & Row,
1977 [1949]), pp. 3-35 ...

   "We now name that challenging claim which gathers
man thither to order the self-revealing as
standing-reserve: 'ge-stell' (enframing). We dare to
use this word in a sense that has been thoroughly
unfamiliar up to now. According to ordinary usage, the
word Gestell (frame) means some kind of apparatus,
e.g., a bookrack. Gestell is also the name for a
skeleton. And the employment of the word Gestell
(enframing) that is now required of us seems equally
eerie, not to speak of the arbitrariness with which
words of a mature language are so misused.
   "Enframing means the gathering together of that
setting-upon that sets man upon man, i.e., challenges
him to bring forth, to reveal the real, in the mode of
ordering, as standing reserve. Enframing means that
way of revealing that holds sway in the essence of
modern technology and that it is itself nothing
technological...." (p. 19)

--- Tim Strzechowski <dedalus204 at comcast.net> wrote:
>
> 130.19  "a Fresson-process studio photograph"
>
> [...]
>
> While filmmaking is a recurrent motif in Pynchon's
> work, what about still photography?  Are there
> recurring instances of photography throughout the P
> canon?
> 
> How does the notion of photography itself --
> capturing a live moment and preserving its image
> indefinitely; recording an instant so that it
> remains constant, unchanged -- reflect themes that
> are explored throughout this novel?

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