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nal, immobile, his two-volume

and unchanging

form of all that passes, moves, and changes. of of the cinema," and,

Deleuze thus is able, on the one hand, to declare in the first sentence study, "This study is not a history on the other hand, to follow this declaration historical periodizations the condition momentous immediately

Three Theses on the Life-Image (Deleuze, Cinema, Bio-politics)

with a series of here: the point is

(xiv). There is no contradiction of all historicization

that the prime object of Deleuze's hisroricization of possibility iry itself, namely, time. Deleuze's study constitutes

is not cinema per se but and, indeed, of historican attempt to think a the cinema: embodied,

event in the historical experience of time through in the way in which time is produced, forms. This is a transformation shift from the movement-image

Deleuze's study is a history of time that needs the cinema in order to think a radical transformation and lived in historical fies in the paradigmatic that Deleuze identito the time-image,

from the indirect representation the cinematic image.? in the cinema is materialized time-image, constitutes

of time to the direct expression of time in in time, which to the

It is the claim of this essay that the radical transformation the most important-if production. emerges from within

as the shift from the movement-image

not the most obvious-inIt is the further claim of this the time-image-without, itproduction comes to of

dex of a regime of bio-political

I The life-image is what the time-image becomes under a fully realized regime of bio-political production.
In his two-volume
once a synchronic synchronic at a classification which-Deleuze's study of the cinema, Gilles Deleuze produces what is at and a diachronic account of cinema. Such an account is an attempt also to the extent to

essay that the life-image

however, ever leaving it behind, and, on the contrary, by incorporating at the moment in which such a regime ofbio-political its full fruition and realization. This is not the place to retrace the complex the term as well as of the concept of "bio-politics"-a hark back to the early-modern been undertaken

intellectual

genealogies

to the extent to which it consists of "a taxonomy, of images and signs."] It is diachronic protestations to the contrary periodization

term that was coined

famously by Michel Foucault in 1974 and a concept whose origins arguably era.:' For my purposes, what I find most comof the concept of bio-politics that has in pelling is the critical re-elaboration as Michael Hardt, Antonio

notwithstanding-it

consists of a bipartite

of the history of cinema, which pivots in what constitutes the prinrep-

around the break of the Second World War. These two aspects of Deleuze's account share and interfere with one another cipal argument resentation of time in the movement-image of this study: the cinema developed from an indirect

during the past two decades by a group of thinkers-such Negri, Judith Revel, and Paolo Virno-who as well as pushed to its logical conclu-

effect have brought to the foreground

and its varieties, in the period and its varieties, that subordinated time image, in the period after

sions an insight that had remained largely implicit and latent in Foucault. This insight concerns the necessary and symbiotic relations between, on the one hand, bio-politics understood as a complex assemblage of modern techorganization, of production and domination as a for the managenologies of power for the direct management, complex assemblage of modern technologies

before the Second World War, to a direct time-image is, to a direct insertion to movement, of time in the cinematic the Second World War. Whereas the movement-image the time-image and expressed time in its pure state, time as such-that

liberated time from the harness of movement is, time as the crer-

of life in all of its forms, and, on the other hand, capitalism understood

-~'

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159 of the limits

mcnt, organization,

and exploitation

of labor-power

in all of its modalities.

finds its besr determination separating it from production; ible from production-and tions were articulated

in the absolute

indetermination

Virno expresses such an insight in a powerful thesis that I take as axiomatic for my present project: "[Bjio-politics or, in fact, one articulation sophical-which a "commerce of potential is merely an effect, a reverberation, historical and philoas potential.?" Such of that primary fact-both as potential,"

it is most discernible

when it is not discernIn this paradox,

when both reign omnipresent.

Negri describes the completion

of a process whose origins and presupposifulfills its philosophiin which it can as such, that is so of potential in the mission at the moment capitalism

consists of the commerce of potential

earlier by Virno: if hie-politics from post-Fordisr the condition

of course, is the defining feature of

cal nature as well as its historical no longer be distinguished as potential"-constituted first place." In my reading,

the exchange between capitalist and worker inasmuch as what is exchanged there is labor-power, of the worker.' what Karl Marx identified in Capital as that aggregate that is inseparable from the living body through the filter of thus, Virno asserts: of all mental and physical potentials the Marxian concept of labor-power,

precisely because capitalist exchange relations-the

"commerce

of possibility ofbio-politics articulated

Looking at the concept of bio-politics

the line of argumentation

by this group of event is

thinkers has the following crucial implication. Capitalists are interested in the life of the worker, in the body of the worker, only for an indirect reason: this life, this body, are what contains the faculty, the potential, the dynamis ... Life lies at the center of politics when the prize to be won is immaterial (and in itself non-present) labor-power. For this reason, and this reason alone, it is legitimate to talk about "biopolitics."? (Virno 82-83) All other itly-the differences notwithstanding, exemplified what brings the aforementioned explicitly or implicbio-politics comes that here by Virno as the necessary and production principle that characterizes post-Fordist

An unprecedented capitalism:

enabled to take place within that zone of indistinction first time in history exploitable

between bio-politics namely, for the are in and to of be

all those potentials

that make up labor-power of thought, language,

and directly productive. by the communication

In a process of production

that is fueled crucially

affect (and hence also of knowledge) exploitable and increasingly produce pay)." Undoubtedly, labor-power found throughout form of exploitation qua potential group of thinkers together is that they posit-either

in all their myriad forms, we are all

exploited to the full extent of our potential

(albeit, of course, not all of us in the same way or with the same isolated and periodic instances of this exploitation its heterogeneous yet isomorphic production, entirety-can the history of production. turns into a definitional as such-in

type of argument

premise from which to draw the following conclusions: goes by the name of post-Fordism as a reaction to the revolutions jectivity post-Fordisrn production. synonymic is another

ro its full fruition with that shift in the capitalist mode of production and that is to be understood

It is only with the emergence however, that such a norm. Such and dominant

primarily

of a fully realized regime of bio-political

of the 1960s and to the new forms of subput it differentlysymbiotic, and

forged in the heat of those struggles; or-to

a regime, in other words, marks that moment is hunted

in history when potential burrows of being,

name for a fully realized regime of bio-political

down in all the most recondite

It is Negri who best captures the co-extensive,

brought out to the light of day, and turned into a spectacle for all to see-in all of its absolute the potentials potential splendor and infinite misery. It is precisely because all labor-power are now subsumed by capital that constituting

natures of post- Fordism and of bio-politics when he states:

In the world of immateriality in which we live, reproduction-which is the first possible definition of biopolitics-and production can no longer be distinguished from each other. Biopolitics becomes fully realized precisely when production and reproduction are one and the same, that is, when production is conducted primarily and directly through language and social exchange.? Such is the paradox of bio-polirics: pletely throughout it realizes itself by dispersing itself comnetworks of production; it

qua potential

is all the more visible in its invisibility, perceptible corporeal in its incorporeality, cause immanent material in its immashort, all the more powerful and in its own effects. And this is of the 1960s and during increasingly gives rise

in its irnpercepribiliry,

teriality, present in its non-presence-in expressive as non-present that moment in history too-after

the revolutions

the myriad and ubiquitous

a ruthless process of reaction-when to the life-image.

the time-image

-The concept of the life-image, thus, constitutes

an attempt to answer the

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CESARE CASARINO TH R F E THE S E SON THE L I F E - I MAG E 16r

add that the life-image at once is born our of this state of affairs and vet does not belong to it. The life-image does not represent cisely, docs not limit Itself to representation. representing modity-in life, or, more preAn image that limits itself to life must also turn it into a fetish, into a cliche, into a comshorr, into dead labor. In the life-image, rather, the representaby kind of knowledge and in Baruch Spinoza's it is inviscan life ineviLabor-power tion .of life rests upon and points to the expression of labor-power-and "expression" here I mean that non-representational mode of communication ible, incorporeal, onrology.12 The poinr is that labor-power immaterial, that Deleuze finds embedded non-present-by definition.

foJlowing question: how can we identif}' and articulate the relation between, on the one hand, the complete tion that characterizes complete realization time? Put differently, time-image?" post-Fordisr indistinction capitalism, of hie-politics of expression and producof time qua and, on the other hand, the

of the cinema as medium production

how can we think the relation between a fully realand a fully realized cinema of the and defining

ized regime of bio-political product of this relation-or, ing such a relation.

The life-image is posited here as a paradigmatic

at the very least, as a heuristic device for think-

cannot be represenred:

II. The lift-image expresses labor-power.

only be expressed. If the image that limits itself to represenring tably ends up turning age forecloses rather than expresses that which brought the first place, namely, labor-power. Represenration

life inro dead labor, that is so because such an imthe image to life in without expression can in rep-

rial, and non-present

Life and labor-power

are one and the

same thing conceived from two different standpoints: in which life and labor-power

they are the two in-

only reify. The life-image, however, represents life and expresses labor-power at one and the same time; or, more precisely, expresses labor-power resenring life-thereby presenting them as immanent to one another, and

separable sides of the same coin. The life-image, thus, is the image of an era are torn aparr irreparably from each other, an like never before. From the lethal dismovements to the no less deadly nowais is diubiquity notions of "lifestyle:' era in which life is turned into the fetish par excellence while labor-power is at once foreclosed and exploited consumer-culture courses of the "pro-life" political-religious days we are confronted directly proporrional rectly proportional the dumber incessantly

positing both as what Giorgio Agamben might call an indivisible, dynamic, pulsating form-of-life.13 This means also that the life-image is a form ofbiopolitical resistance, that is, at once a form of resistance against bio-politics as well as a form of resistance that is itself bio-political-in resistance that uses and rums bio-politics against itself. short, a form of

discourses around anodyne

by a life whose increasing

to its elusiveness, whose increasing inflatedness

to its vacuity. If a stand-up bicycle in a gym can be called

a "life-cycle," you can rest assured that the more garrulously life speaks today it has become, and that what you are riding, as you pedal away nowhere, is no longer a bicycle of any sort proportions-which is to say, of oflife can no longer be distinguished that is hidden away joke of world-historical eagerly while going absolutely but a bio-political

III. The lift-image finds an exemplary instance within and against the spectacle of AIDS.
Rarely have more fetishistic a prodigious hiscarical conjuncture and reified images of life proliferated quantity at such

speed and in such a voluminous

than during that period

that saw the spectacle of AIDS at its zenith, approxi-

course, that in our era the world-historical

mately from the early 1980s to the very end of the last century-a

from the trivial and the inane as such. Such a spectacular fetishization is closely related to the fact that the secret of production

and a spectacle with which we have yet fully to come to terms. Many are those who have told us already the story of the spectacle of AIDS.14 One way of telling this same scary from the standpoint sentation of my present investigaconstrual of tion would be to point our that some of the most reifying forms of reprewere rapidly enlisted in the service of a pernicious AIDS as the deserved product of the possibilities opened up by the political critiques of the J960s-including movements not only the gay and lesbian liberation but also the critique and subversion of those very forms of rep-

in life and its forms can be squeezed now for all it is worth: if invocations of life nowadays sound like so many empty cliches, that is so because for the first time life has been emptied out completely of its only possible content, namely, labor-power. Today, life and labor-power apart from each other-separated more than ever stand by that limit that is capitalism.

Lest I begin to sound as cranky as a latter-day Adorno, however, let me

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resenration.

I have written

elsewhere about the relation of representation

between,

on the around in the a In this sense, the spectacle of AIDS needs to be understood reactionary also as a preemptive backlash against past and present critiques of representation

16, nor only as a but

one hand, a certain critique

that was articulated

1968, and, on the other hand, the spectacle of AIDS that unfolded 19805 and 1990S: suffice to say here that the AIDS pandemic revengeful recrudescence different yet significandy of the deployrnenr congruent of representation others-had such as Deleuze and Guy Debord-among 1969.15 (1 am referring to Debord's more implicit yet no less powerful to produce the first appendix

occasioned that thinkers

.\trike against the life-image and its future possibilities. painters, novelists, and poets attempted Our sensorium to

It is deep from within the spectacle of AIDS that a number of filmmakers, video artists, photographers, fied-images beginning extract the life-image from the viciously stcreotyped_that of life that have been saturating of the AIDS pandemic. David Wojnarowicz, Throughout is, utterly reisince the very

critiqued

in very

works that appeared between 1967 and

Society of the Spectacle and to Deleuze's

the I980s and I990s, the

a concept of "simulacrum"

likes of Derek Jarman, heim, Keith Haring, ers, produced

Herve Guiberr, Aaron Shurin,

to The Logic of Sense, as well as to produce

Gregg Araki, John Greyson, Cyril Collard, Marlon Riggs, Rosa von PraunPeter Friedman, and Tom Joslin, as well as many othwith what I works that constitute Sustained experimentations

"expression" as distinct yet indiscernible provided

mark study of Spinoza, Expressionism in Philosophy.) the spectacle with the perfect opportunity

The AIDS pandemic to discredit when the spectacle

have been calling the life-image. 1 will end this essay with a snapshot of such experimentations. In the I993 documentary Silverlake Life: The Vlew from Here, Tom Joslin pitilessly records the devastating impact of AIDS-related conditions on his life up until and including death-when the instant immediately and paradoxical foJJowing his own his naked, emaciated, ravaged body is exposed to the impasdisplay of what Fouwith one

miliate the political energies of that historical moment portunity to act increasingly unrestrained.

had come most intensely under attack, and hence also with the perfect opThis is to say that the spectacle of an exponential leap in of AIDS was at once attendant the spectacularization macroscopic and microscopic and constitutive

of everything

everywhere, and especially of the most

life processes, namely, of those rwo poles in of the population, of spectacular and that logic: it

sive gaze of the camera in a stunning specific sequence, lasts approximately shots. The sequence mediately apparent

the exercise of power over life that Foucault had identified as the anatornopolitics of the human body and the bio-politics the AIDS pandemic has made virtually indistinguishable from each other.

cault might have called care of the self Here, 1 am concerned two minutes

which takes place toward the end of the documentary, and six seconds, and consists of thirteen to a seemingly random or not imorin no apparent unfolds according

The spectacle of AIDS emerged as an intensification marked the bio-polirical could mark such an exponential

turn of the spectacle. But if the spectacle of AIDS leap in the representational logic of the

logic: the shots follow one another with no self-evident

der; they appear and disappear

relation either to the

spectacle, that was so not only because the AIDS pandemic was seized as the perfect chance for a vicious backlash against the 1960s but also because the AIDS pandemic was immediately understood as posing a dangerous threat in its own right to such a representational point out that the spectacle spectacularizes tial to undermine its representational thing, that which harbors the most potential the threats it posed to dominant logic. Another and complemen-

preceding ones or to the succeeding ones. It is only well into the sequence rhar one may infer that the rhin thread holding the shors together visually is the Silver Lake neighborhood of]oslin's apartment. borhood functions in Los Angeles as viewed from the terrace hence as its (The retroactive realizarion that the Silver Lake neighas the cement of the whole sequence-and protagonist_is crucially enabled by the strategic

rary way of telling the story of the spectacle of AIDS, in fact, would be to that which has the most potenfor the emergence of the lifenot least of to gener:lte new logic, or, which is to say the same at all costs because

unWitting yet undisputed

inclusion of street signs, revealing that the scene takes place on Silver Lake Boulevard, in the second, fifth, and tenth shots.) Rarely has a camcra been ar once so distracted shot, one is presented and so focllsed, so scattered and so keen: shot after now one more at once with now one view, now another,

image. AIDS and its suffering had to be spectacularized all to scienrific and medical representation-were

forms of represenration-and bound

[!Cet, now yet another, of the area surrounding raking it apart and purring

the terrace from which the

images that might challenge and evade the logic of the spectacle altogether.

camera is zooming in Onto the familiar world of the neighborhood,

it back together inro a series of discrete yet ir-

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165

reparably inseparable images. Or-to has nothing reverberations and ontological patchwork suddenly

pur it differently-each

of these shots

Ozu that Deleuz.e finds some of the first and paradigmatic still lifes, which-much neighborhood-always Deleuze writes: like Joslin's panoramic portray the quotidian, snapshots

examples of such of the familiar the "banal."

or vcry little to do with any of the others, but they all partake of signifiers: Silucrlal Life-whose are most intensely felt perhaps in the voice-over. 'l hc scopic aimlessness of the images, in fact, is echoed in the aural aimlessness ofJoslin's words: as one watches such a singular

of that most aleatory yet most poignant and epistemological

the "ordinary,"

of Silver Lake slowly take shape in front of one's eyes, Joslin re-animated, vital, and clear-and at times trailing off into the

speaks in a tone of voice that is at times exhausted, at times halting, at times sonic shadow-land of whispers. This is what he tells us:

The still life is time, for everything that changes is in time, but time does not itself change, it could itself change only in another time, indefinitely ... Ozu's still lifes endure, have a duration, over ten seconds of [a] vase: this duration of the vase is precisely the representation of that which endures, through the succession of changing stares.!? Joslin's time-images, however, do more than this: in them, that which a

What is this that passes before my eyes every day? I spend most of my time looking, seeing. Just watching ... this strange thing pass in front of me. I am not much of a participant in life any more. I am a distant viewer. Just watching it all pass by, knowing that. , . I am not going to have that much longer to keep ... my eye on the ... on the prize. Do you hear that industrial sound in the background? Another big dumpster is being pulled up, someone re-building a house, more trash going to some dump that doesn't have room for it, on a freeway that's full of cars. This civilization is so strange. I've never felt much a pan of it. I think being gay separates you a little. Certainly having AIDS and ... [almost laughing] being a walking dead!-if you will-separates one from the everyday world. [Singing to the tune of Mister Rogers'Neighborhoods theme song:] It's a beautiful day in the neighborhood!" It really is a beautiful day, by the way: wonderful sun, not too hot, not too cold, new breeze. I don't know what anybody could ask for more." To put it quickly and all at once: in this complex sequence, we witness the time-image giving rise to the life-image. Let us now retrace our steps through first ten of the thirteen the time-image,
1.

endures is not merely a trash bin, a lamppost, fragmented dures ... all odds here is above all a life-Joslin's through

a street sign, a building, indeed

cityscape. As the voice-over reveals to us, what endures against own life, which "enthe succession of changing states." Here, thus, one may

catch already a glimpse of what is to follow the first ten shots, as the lifeimage is heard buried alive and latent at the very heart of the time-image.
2.

Throughout

this sequence,

sound and image are radically disjoined elliptically and shot, by the nearly abAnd, indeed, multilayered

from one another:

each refers to the other in syncopation, for example, a particularly in its entirety undulating

indirectly, if at all. Consider, stract, silvery, shimmering, simultaneous of a dumpster re-building

the eighth shot. As the image is saturated

expanse of the lake, the voice-over

asks: "Do you hear that industrial sound in the background?" with the question, gine, which the voice-over proceeds immediately truck: "Another big dumpster a house." Whereas

one does hear the sound of a revving ento identify as the sound is being pulled up, someone

Silver Lake in slow motion.

The

one does hear the sound of the dumpster Moreover,

truck, however, the truck itself does not enter the frame and hence the field of vision, and, in fact, will remain forever in the our-or-field. one does not see the house that is being rebuilt-nor, one hear the presumably see a building has departed, constitute ongoing construction work-there for that matter, does from where the truck

shots of this sequence are steeped in the world of mini-

as they exhibit five of its most crucial and defining features. within the frame (such as a sparrow fluttering over a stopagitated by the wind), and, on the other still (or at as if swaying under that very wind These shots, in other words, still lifes that Dclcuzc It is in the films ofYasujiro video camera is almost always completely

In each of these shots, on the one hand, there is some-often

mal-movement

light, a car speeding by, a tarpaulin hand, the hand-held

dumpster is being pulled up. It is only later, in the tenth shot, that one does under construction: by then, however, the dumpster and the voice-over has gone on to relating and indexing other between sound and image of the time-image.2o buildings, desolation busy freeways, of metropolitan characteristics sites, run-down

times wavering almost imperceptibly, bear a close family resemblance

that we see blowing in the shots themselves). identifies as the primal scene of the time-image.

matters. For Deleuze, such complex disjunctions one of the fundamental 3 Strip malls, construction

to those cinematic

empty street after empty street, the beautiful

:.',

166 structures

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CAS A R I

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TH R E E THE SES 0 ~ THE L I F E - I MAC E 16

...

'VC'hatunravels throughout fragmented

this sequence is what Deleuze rea certain type of post-war uror vacuolized and deserted, most iconically by the To recapitulate: Still life as representation of that which endures, disjuncthe missing people, the subject rion of sound and image, whatever-space, ger acts-rarher, he sits, stares, and records; he no longer participates life-he only looks at it from afar. in

fers to as espace-quelconque, "whatever-space": ban space-either and disconnected as well as always disorienting-which cinema of Italian Neorealisrn, direct insertion of time in the image."

was captured

and which enables, among other things, the absence in these images is the human must be driv-

as ,witness of life rather than as agent in life: such are at once the palpable traces that time leaves on the image, as well as the features of an image that draws attention to the passing of time, that indexes the emergence under the sign of the time-image, of time in the shot itself, that makes time visible as such. After the first ten shots of this sequence have unraveled however, a of which singular event takes place: in the eleventh and twelfth shots-each is Significantly longer than all the preceding oneS-we recording apparatus, can be no distinction which consists of an indivisible body and his prosthetic

4. Possibly the most conspicuous

form: there are no people here. One supposes that somebody

ing all these cars, but we don't really see them clearly, as they whiz by rapidly in and out of the frame. For Deleuze, whereas the primary political import of pre-war Eisenstein knowing cinema consisted to Frank Capra-the in the presence of the people-from political import of post-war to the conspicuous Sergei cinema lies
22

see the shadow of the assemblage of Joslin's

precisely in drawing attention sense, the political vocation

absence of the people, in In this for Deleuze already there, in to

how to show that the people are that which is missing. of the cinema of the time-image of addressing a people, which is presupposed to the invention

video camera: in the shadow, they are one; there has nothing else left to record but immate-

between the two. After having expressed time in imleft to do but to enfold over itself,

1J0-

\~.1
~t\~\Z

II but of contributing
community

.I

consists "not ...

age after image, the recording apparatus its own power to record; it has nothing

of a people" to come. Such words reso-

nate all the more urgently here: in the context of the AIDS pandemic, fact, to show that the people are missing cannot but also refer mournfully of a world without AIDS.

to turn Onto itself, or, more precisely, to turn to its incorporeal,

the myriads of untimely and avoidable deaths as well as envision the coming 5. Deleuze remarks repeatedly image corresponds tivity. The manifold mechanization saturation through zation, namely, on the fact that the cinema of the timeof a new form of subjecthe increasing production, of experience link, no of industrial

rial, non-present existence-that is, to its negative, to its shadow. Such is t . the life-ima e: it does not merely re resent bod, matter, life er se;~;: '7" V\I presses rather, a ure otential to be, to act, to record, to body's ubiquitous shadow-image. If-as Deleuze claims-the roduce as the /I . f j..t time-image
...

e: .... :!,{

,~o~

to and records the emergence

processes of modernization-including by the image, mediation

ex ress' e absolute b activatin an infinite rela between the virtual and the actual, the life-image emerges from the time-image by expr~sin the pow;(~f~
24

------------

-.

of everyday life, automatization

absolute,

or, rather, its two distinct corresponds

et indiscernible otential to its

of lived environment

Owers or be or to act.

oteotials: the

oteotial to think or to know and the

myriad forms of telecommunication-result or, at times, even in the breakdown, of the relation between perception have triggered

in the problernatithe subject

Here, the first potential apparatus

to the eleventh shot, in

of the sensory-motor and action: its actions,

which the recording

records its power to know by recording

own shadow: here, in other words, the recording apparatus records the trace of its Own recording, records the negative of itself in the process of knowing . The second potential ing apparatus corresponds to the twelfth shot, in which the recordits own moving hand records its power to act by recording

longer knows what perceptions

and hence no

! . .t.,
~ fl
n.~I('~O,

..'"

longer even experiences without knowing

such actions

as its own, that is, the subject acts the subject no longer knows how no longer knows how to react the cinema sleepwalkers: of the a cin-

why; or, conversely, This explains

'08111

II<> t

'
11'\

to act on the basis of what it perceives, to a given situation. time-image damaged ema populated is a cinema of entranced life, to events so unbearable

and its Own singing voice. In this last singular shadow, we see a body on the verge of disappearance, a life on the brink of death, asking itself what more it can do. What this body can do is to turn a silly song and a campy wave of the hand seamlessly into an arresting gesture of joyous valediction: index finger raised pointing to an absolute our-of-field, waving good-bye to the world and to life itself, this body basks COntent in the bright light of a beautiful day, and expresses its power [0 be to the very end.

why for Deleuze seers, observers,

by subjects who largely watch, stare, and bear witness to as to be paralyzingY And this is

precisely what Joslin's voice tells us during these first ten shots: he no lon-