A deriva do olhar

«Less disputable is the fact that Bergson believed cinematographic modes of thought antedated the invention of the moving picture. It was already evident, he argued, in Greek philosophy -- in particular in the Platonic doctrine of Ideas: "Eidos is the stable view taken of the instability of things... We end in the philosophy of Ideas when we apply the cinematographical mechanism of the intellect to the analysis of the real. Because of modern science's dependency on the language of abstract signs, it too has not escaped the cinematographical trap. Indeed, all modes of intellection, based as they are on symbolization, are susceptible to this tendency, for language, rather than being an alternative to visual perception, shares with it a weakness for atemporal abstractions. Only a prelinguistic grasp of fluid, creative, vital reality will take us beyond the camera eye. Only a sympathy for the formless flow of time will allow us to transcend the implications of our ocularcentric bias, for "form is only a snapshot view of transition."