The past as such does not exist. It is not real. The past is the history of a memory; it is the excess of one’s experience of an event. It would be inaccurate to think of this a recollecting an immutable action (one that can only be interpreted in one way for all time) because as memory is the excess of one’s experience, the experience itself is of a virtual event (i.e. an event is always mediated prior to experience). The memory of the event is always a virtual history in which one remembers what one saw (again, a mediation!). We never have unmediated access to the event (or to the object of our relations) itself.
When one writes of past events (which is all what one can write of), one is actually organising and recollecting memory in the present. The act of remembering is a repetition of an unlived future, it is the consolidation of memories into one crystal moment of eternity. We can speak of major world events such as May ‘68, 9/11, Pearl Harbor, etc; however, in doing so, we are contracting a multiplicity of memories and interpreting them through other memories (e.g. events that have occurred between ‘then’ and ‘now’) to create a singular, transitory excess of experience. These memories have been long forgotten as mediated memories — metaphors understood by analogy and, to borrow a term from web technologies, ‘tagged’. There is a reason why one’s life can ‘flash in front of’ one’s eyes, and this is because memory is always incomplete and fragmented. One’s entire life does not play back in its entirety when it ‘flashes in front of’ one’s eyes; it is contracted into one crystalised moment that is never repeated.
In the “Second Series of Paradoxes of Surface Effects” in Logic of Sense, Deleuze turns the play between causes and effects to the surface (so to speak). The two are transformed into bodies and events that manifest on the surface. In Alice in Wonderland, the animals (which are deep) are usurped as “nobility” by thickless card figures (p. 9). Deleuze suspects that Alice isn’t about the adventures of Alice (as the original title suggested) but about the single adventure of Alice: “her climb to the surface, her avowal of false depth, and her discovery that everything happens at the border” (9). It is on the surface where bodies produce events and have effects and Lewis Carroll saw this clearly. In Sylvie and Bruno, the character “[learns] his lessons in all manners, inside-out, outside-in, above and below, but never ‘in depth’” (10).
Manifestation is part of the hermeneutical cycle for Deleuze. Unlike Heidegger’s hermeneutical circle, Deleuze suggests it is a Möbius strip. This strip highlights the logical paradox of signification that “‘Z is true if A, B, and C are true…,’ and so on to infinity” (16). The truth of a proposition is much like the Snark in Alice. It is by unfolding and untwisting the Möbius strip that the dimension of sense appears as it animates the (truth of) the proposition (20). The image of the Möbius strip represents the hermeneutical cycle not as a circle but as “the coexistence of two sides without thickness, such that we pass from one to the other by following their length” (22). Sense is not an effect or a result but the extra-Being which inheres or subsists; it is an “event” but “on the condition that the event is not confused with its spatio-temporal realization in a state of affairs” (22). Language itself is the flat world of the sense-event.
