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To open up the inside (of a text, of a film, "of the fragment") one must first be on the outside - but the ocean drowns us just as surely as it drowned the railroad boss, and without ever touching us, just as it never touched him. We remain on dry land through out. Wlt is that any comfort? The ocean is the double of the land. ) And the speculum is supposed to reflect the inside to the outside. But since the ocean is a mirror too, it must reflect the speculum. A reversal not easy to control. One that would get out of hand - as the Escher print, in which two hands rising out of the paper on which they are drawn draw each other, might be said to get out of hand.

In this sense, primitive accumulation characterises the dimension of time as a break between pre-capitalist history and capitalist history. Marx remains vague as to how long this epoch has lasted. In relation to England he suggests that the epoch of primitive accumulation started in the 16th century and came to an end at about 1850. Additionally, primitive accumulation refers to the systematic process of the 'clearing of estates', that is the separation of labour from the means of production, from the natural conditions of labour and reproduction and from the objectification of labour power through unalienated labour.

Texture coats the surface of the film like a cataract. It blinds us, but at the same time it promises itself to us immediately - finger to surface without gap; touch, feel, this. Touch has always been feeling par excellence, the sensual sense (for Hegel, the material sense, as yet unidealized), and sensuality is immediacy; overwhelming, flooding, melting, and dissolving, the body. Against the distance, the separation, the never-here, of meaning, the immediacy of the medium calls out. A seductive call, doubtless, offering the prospect of a meeting without veils, a contact without intermediaries, a hearing without interpreters2; but one not without its disappointments.

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[Journal] Vigiliae Christianae: A Review of Early Christian Life and Language. Vol. 51

by Charles

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