PRINCIPLES OF FILM01: HOW TO SHOOT ANGELICISM CINEMA

PRINCIPLES OF THE FILM

Thought under extinction has no plot, no dramaturgy, no twist, no opening or closure, no suspense. It’s not literal or theatrical. It’s, lets say, pure. It’s a pure cinema, play of light and darkness without a voice-over. It’s the camera indifferently recording glaciers melting.

Film01 is the extinction pov. Cinema is a 20th century reality and angelicism belongs to the 21st century. This means angelicism is not cinema. It films cinema. It subsumes both contemporary cinema and the history of cinema.

Film01 is not about film, it is about filmicity. It is not about the history of cinema, it is about geology. It cuts where pure cinema meets the TL, where media meets social media. It is what’s looking. It is is are.

Cinema so far had a limited scope. The universal gaze of the history of cinema was a 20th century reality. Film01 is a gaze from the extinction pov. It belongs to geological time and not arche-cinematic time (‘2001’). It asks: How many times must we go extinct?

Can it be filmed? Of course it can! Film01 is easy because what’s looking looks without us. We don’t have to effort to make this film because what’s looking looks without effort. What’s looking has always filmed. It films itself.

What’s always filmed we are calling filmicity. Film01. Or angelicism01 film.

SOURCES

First, the source. Film01 is universally sourced. The first idea is simple: anyone’s footage. The second idea is just as simple: the internet is already a principle of composition.

We can say more. The Internet and the TL are constantly composing and recomposing but they may be filmed, and this is a way of creating a net of jewels.

Everyday the Internet produces new infinities and new cuts and yet they are not filmed. The Internet and the TL are also dialogues of pure voices. This is why the film01 screenplay is written for use by anyone. From anyone’s point of view.

These scripted voices are not God voices or even angel voices: they are texts written for anyone to speak at the same time. This is also why the white screen in film01 is so important. The white screen here indicates the rapid oscillation of new anonymities.

If all footage is available to us, then film01 will be one of the greatest copyright breaches of all time. All footage belongs to film01, yes, but this is already the immanent state of everyday vision in the Internet Era. In fact, it would be more accurate to say: all footage steals from film01 and not the other way round.

To go online everyday is to shoot film01 and this is why everyone is purely commanded to join in with film01. What we see each day online is already always ‘editing’—the zero one cut. All that film01 does is to film this (pure) cut.

EMPTY YOUR IPHONE

Let’s restate the first principle as a real metaphor: empty your iPhone. On Weibo a downloader is integrated into the app, meaning pictures are downloadable without second-order app integration. China wants to allow the internet to be composed when the West does not. China is closer to film01.

Most people collect footage with something in mind. In the case of the likes tab, we expect to come back to our likes but never do. It’s as if we had something in mind. We saw a pattern but were prohibited from composing it. Before we know it there are too many likes to go back through, and some are gone forever.

When we lose a laptop, we lose everything we had meant to compose. If we forget to reactivate a Twitter account, we lose all the favs we also meant to go back to. In all cases the principle of composition is replaced by addictogenesis. The addiction to being-online becomes more important than any experience of its own beauty. Addiction replaces composition and computation.

And yet, the beauty of the TL is undeniable. We are addicted not just to digital self-exploitation but to the immense beauty of being online in an extinction era. To all of these problems, film01 is the solution. It solves these problems with mathematical precision. Which is to say, it empties them.

‘Empty your iphone’ before it’s too late becomes a refined form of falling up. Handing over an archive is falling up in love before all life ends without us.

TYSM

As soon as we enter in the space of film01, which is the space of immanent film (a life) and not the history of cinema, we fall up. That is, we fall up into. And what we fall up into is gratitude. And what gratitude is, is an exit from scrupulosity.

Being in film01 is a tysm at the end of the universe. But it is also the only way of computing if it is the end of a universe. Since cinema is not a science, we have to fall up into a space of easy creation that is more grateful, more precise.

It’s the space of ‘tysm’. It’s also the space of ‘ilysm’. These two icons share a pleasing (letteral) shape. They are a form of psychedelic quietism. To be psychedelic is simply to be clear in form. To be as clear as possible. 

Insofar as film01 has a critical component, that is very simple. It points out not one gap in the history of cinema that can be filled, but the gap that the history of cinema is, no matter what it (the history of cinema) is and no matter what it does next.

The thing missing from cinema is the computation of the number of extinction. Since cinema is a reality made of the ignorance of that question, we have to film film itself. And this filming of the number of extinction is not at all the history of cinema.

THE KNOWLEDGE OF EVERYTHING

When we relax—and sometimes this means relaxing from making—we see that we already have all knowledge in the universe. Insofar as answers are tractable at any point in time, they are already given in the space of knowledge. Since no knowledge breakthrough impacts the space of knowledge itself, in which all is always already known, all we have to discover, know, and film, is pure space.

The only thing that cinema can miss is this space. But since this pure space inheres in all, all cinema is this same space. But if cinema does not proclaim itself as this space, it is not quite the same cinema. Film01 is the same cinema all across. Let’s also call it the absolute singularity.

We can reach this singularity or wait for it. Or, instead, let’s just be it. As angelicism originally said, ‘BE clone’, so it now says, ‘BE film’. Insofar as pure space films itself, there really is nothing to do. We can do nothing for film01 and nothing changes. We can also do everything for film01 and nothing changes. But as everything we are film-01.

Being-film means a life, and the computation of a life. The filming of ‘a life’ is the computation of absolute secrecy. Instead of the attempt to be a secret, have one, keep one, we have immersion in secret flower mind absolute singularity.

HAVING TO DO SOMETHING ABOUT EVERYTHING

Angelicism can look like a having to do something about everything, and to some extent it is. But really it’s the opposite: a computation of the space in which epistemology and the hermeneutics of suspicion cut across each other. Sure, why have I been given this knowledge of extinction qua extinction if there is nothing I can do about it?

Hermeneutics and epistemology are cut. They are bystanders. They are superfluous. But at the same there is their space, their filming, the cut between them itself. It’s not so much that it—the ext—is none of our business, but rather that there is no business.

We start, then, before that. We film. In this state, all the knowledges and tricknowledges are available. Like a pre-spring more summer-like than angelicism summer itself.

Sky flower mind means pure falling up. Secret absolute mind of lifetime means falling up into. When we fall up we enter into the falling up in love singularity. When we fall up in secret love singularity our knowledges are no longer bystander knowledges or outlier knowledges, they are complete.

Angelicism has completed film idealism before it even shot a thing because it concerns itself with the possibility of this space of computation: the number of extinction, falling up, falling up into, angelicism summer, spring fever, angelicism summer forever, the availability of universal knowledge.

THE GREAT COLLECTION

It is midsummer at the time of writing and this brings with it the possibility of a Great Collection. Let’s say we have 1028 days left, is it not time to collect? To collect all our clips, screenshot archives and dream scripts and ideas before all life ends without us? The choice is simple: the falling up in love singularity or all life ending without us. Film01 or scrupulosity.

But now let’s say there are 1000 days left. Do we now collect? And would we allow another to collect for us, to be the collected space of all great collections before a universe times out?

On the other hand, we compute the relaxation—or its possibility. Since we don’t know what size universe we are in, perhaps nothing collects or needs to be collected. No collection, no collector, no extinction, no collective input or output. This is called the Great Stopping.

But are they not the same thing? The Collection and The Stopping. But let’s say we have far less than 1000 days left. In perfect relaxed space we can even say we have one second left: rain is coming down the window. So we film that rain, but this time it’s the rain itself, a rain cinema has never seen.

We see that what film is, is this film between days and their calculation. Since what’s looking sees itself, it may be filmed. Film merely arrives late on as a technology that does what the rain on the window does.

So a butterfly appears on the window. In the rain. And a voice in the script for film01 says, beside a white unmade bed: ‘maybe sometime soon never again’.

The voice is white, not because it is mechanical, but because it is computed. In other words, in the case of angelicism, computation is filmic and on the side of the butterfly, and the butterfly computes the number of extinctions. The ‘as if it were the last time in a universe’ itself. Would you collect all then? Will you now be film01?