Seite - 85 - in JRFM - Journal Religion Film Media, Band 04/02

84 | Vuk Uskoković www.jrfm.eu 2018, 4/2, 83–113 director of the Advanced Materials and Nanobiotechnology Laboratory, the world’s first conceptual science lab, where research distances itself from R&D entrepreneuri- alism and shares the approach common to conceptual arts. Albeit rooted in natural sciences, the work of Dr. Uskoković and his lab draws inspiration for research from humanities and arts, including music and, particularly, film. LESSON ON DELIBERATE IMPERFECTIONS, RELIANCE ON INTUITION, AND GETTING LOST AS A PREREQUISITE FOR BEING FOUND The making of a Godard movie has always been a matter of relying on intui- tion, ad hoc improvisation, creation with an eye for the moment, never ever acting the same thing twice. This will be our first premise in the discourse that follows. Our second premise is that an attempt to reflect on an object without reflecting its nature on every single level of the structure of this reflection is a vain attempt, an act of hypocrisy, as it were. For example, to analytically dissect poetry using a prosaic language of not poets but dry philosophers presents an unfaithful way of reflecting on it. In this case, to talk about Godard without rid- ing on the same go-with-the-flow momentum would be a dishonest act and, must I say, blasphemy with respect to the implicit message that his filmmaking intended to convey. Henceforth, this essay will be written without much looking back and restruc- turing; rather, a surf on the waves of intuition, verbally chaotic and disheveled, bestowed breathlessly, will be used, evoking the style in which Blaise Pascal, that undercover hero of La Nouvelle Vague martyrs, wrote his Pensées: “I will write down my thoughts here as they come and in a perhaps not aimless confu- sion. This is the true order and it will always show my aim by its very disorder. I should be honoring my subject too much if I treated it in order, since I am trying to show that it is incapable of it”.1 Hence, we will substitute strict script follow- ing with ad hoc improvisation, preplanning with an eye for the moment, and setting things in stone with sketching them in the air, never knowing what will come next and, thus, potentially finding the destination in every point of the path on this plane of reality that resembles Pascal’s sphere whose circumfer- ence is nowhere and center everywhere. To preplan and overthink everything in advance is a sin in Godard’s filmmak- ing universe and if we wish to faithfully map a quest for the semantic essence of this universe, we have no choice but to obey. Now, does this mean that we should approach our creative acts the way Isaiah Berlin approached lecturing,2 1 Pascal 1966 [1662], 216. 2 Berlin 2002.