A distinction: writing the moving image rather than writing on the moving image: where the latter is writing that is concerned with media and cinema and a confined definition of the moving image, the former opens onto our subjectivity, perception, and imagination.

Writing the moving image shall be as descriptive as the image itself. The writing will be as dynamic as that which it describes. The writing shall give the image new vitalities; it will not flatten the image with banality.

Writing the moving image can never be as descriptive as the image itself. And the recognition of this impossibility is imperative for this writing’s success.

Image is lightness and weight; writing the image is akin to making impressions on its figure. Adding words to an image adds to its weight. But we seek writing that expresses rather than impresses upon the image. We seek the impossible: words that support the image rather than weighing it down; words that add lightness.

Writing the moving image will never be about the image. (What is aboutness in the first place? The hidden. To discover and uncover does little except to locate a locus that cusps another.) Writing on the moving image will never be about the about.

Writing the moving image will be exclusively about the image, encompassing all im/perfections, codec conundrums, subtitular horrors and shaky cam pirates. It will give the image a depth heretofore unforeseen, but it will never depart from the image by taking traitorous poetic liberties. In this way, writing on the moving image will always be a matter of description that gravitates toward the image without giving up the image’s form. The image is fractal; writing the moving image is the infinite fall into the landscape of the image.

Writing the moving image shall take the image in its potentials for departure, treating the image as a centrifuge for poetry that honours the image precisely by skittering off the image, even to the point of tearing the centrifuge apart. The centrifuge is destroyed but transmuted into the movement-energy of the poetry. The motor of the image is its possibility for stimulation. It brings us movement, and this movement-energy we must keep alive.

Writing the moving image will be accessible so as to have the potential for a global revolution. Rated G: all ages admitted. The infinitely accessible will be the annulment of taste. There will be no need for preference when understanding is total. Pure perception, rather than subjective knowledge or cultural capital, will be judge and jury, teacher and student, lover and beloved.