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Updated: June 15, 2025
The cinematographical method is therefore the only practical method, since it consists in making the general character of knowledge form itself on that of action, while expecting that the detail of each act should depend in its turn on that of knowledge.
Whether we would think becoming, or express it, or even perceive it, we hardly do anything else than set going a kind of cinematograph inside us. We may therefore sum up what we have been saying in the conclusion that the mechanism of our ordinary knowledge is of a cinematographical kind. Of the altogether practical character of this operation there is no possible doubt.
On the flux itself of duration science neither would nor could lay hold, bound as it was to the cinematographical method. This second kind of knowledge would have set the cinematographical method aside. It would have called upon the mind to renounce its most cherished habits. It is within becoming that it would have transported us by an effort of sympathy.
The truth was that I had a sudden, cinematographical vision of my chubby self me, who cannot walk half a mile, nor bend over without getting palpitation stumbling in my high-heeled shoes over the fields ploughed by cavalry and shell breathlessly bent on carrying consolation to the dying.
The application of the cinematographical method therefore leads to a perpetual recommencement, during which the mind, never able to satisfy itself and never finding where to rest, persuades itself, no doubt, that it imitates by its instability the very movement of the real.
It is the same cinematographical mechanism in both cases, but it reaches a precision in the second that it cannot have in the first. Of the gallop of a horse our eye perceives chiefly a characteristic, essential or rather schematic attitude, a form that appears to radiate over a whole period and so fill up a time of gallop.
If we look at it closely, we shall see that our habitual manner of speaking, which is fashioned after our habitual manner of thinking, leads us to actual logical dead-locks dead-locks to which we allow ourselves to be led without anxiety, because we feel confusedly that we can always get out of them if we like: all that we have to do, in fact, is to give up the cinematographical habits of our intellect.
Time is invention or it is nothing at all. But of time-invention physics can take no account, restricted as it is to the cinematographical method. It is limited to counting simultaneities between the events that make up this time and the positions of the mobile T on its trajectory.
We must try to make this point clear, in order to show by what invisible threads our mechanistic philosophy remains bound to the ancient philosophy of Ideas, and how also it responds to the requirements, above all practical, of our understanding. Modern, like ancient, science proceeds according to the cinematographical method. It cannot do otherwise; all science is subject to this law.
As to what happens in the interval between the moments, science is no more concerned with that than are our common intelligence, our senses and our language: it does not bear on the interval, but only on the extremities. So the cinematographical method forces itself upon our science, as it did already on that of the ancients. Wherein, then, is the difference between the two sciences?
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