. I borrow this term from Christopher Phillips,“Word Pictures: Frampton and Photo-
graphy,”October(spring:-, here.
. Frampton,“For a Metahistory of Film,”.
. Ibid.,.
. Frampton,“Incisions,”.
. Ibid.,.
. Ibid.,.
. Ibid.,.
. Ibid.,.
. Wikipedia,“Dedekind Cut,”http://en.wikipedia.org/wiki/Dedekind_cut, last ac-
cessed//.
. “It is in this sense that the cinema is the system which reproduces movement as a
function of any-instant-whatever that is, as a function of equidistant instants, se-
lected so as to create an impression of continuity. Any other system which repro-
duces movement through an order of exposures [poses] projected in such a way that
they pass into one another, or are‘transformed,’is foreign to the cinema”(Gilles
Deleuze,Cinema I: the Movement-Image, transl. H. Tomlinson and B. Habberjam
[Minneapolis: University of Minnesota Press,],).
. Following the suggestion of Annette Michelson, who writes in her foreword to the
original volume of Frampton’s collected essays,Circles of Confusion:“It has been
pointed out that Dedekind’s axiom constitutes a particularly adroit presentation of
our representation of time. [cites the Dedekind axiom]...So it is that we intuitively
establish, within Time, a past and a future which are mutually exclusive. Together
they compose Time stretching into eternity. Within this representation,‘now’consti-
tutes the division which separates past and future; any instant of the past was once
‘now,’and any instant of the future will be‘now.’Therefore, any instant may consti-
tute this division”(Michelson,“Time Out of Mind: a foreword”inCircles of Confu-
sion: Film, Photography, Video: Texts,-[Rochester, NY: Visual Studies Work-
shop,],.
. See“Hollis Frampton,”in Scott MacDonald,A Critical Cinema: Interviews with Inde-
pendent Filmmakers(Berkeley: University of California Press,),.
. Bruce Jenkins, dissertation,.
. This is especially so in the context of recent work bridging Husserlian phenomenol-
ogy of time-consciousness and neuroscientific explorations of perception. See, for
example, Varela,“The Specious Present...”where the lived experience of conscious-
ness literally emerges out of microtemporal neural processes that, in relation to it,
remain virtual.
. MacDonald,.
. Frampton gives some insight into his process in the interview with MacDonald:
“The whole film, of course, was shot as two long takes: the original material is two
-foot rolls. The sound was continuous; the Nagra was simply left on and that’s
why you hear the squeals of the slate. Except for that very brief opening passage in
which it starts out in sync and immediately disintegrates, it’s divided very roughly
into fourths, with the passage in the dark forcing two pairs apart. At first, they
match, and then in the dark, where there is only sound, each segment of sound,
instead of going two steps forward and one back, is simply repeated exactly three
times. When the imagery reappears, the temporal overlap resumes, but the unit of
Digital Technics Beyond the“Last Machine” 71