Moebius is not a structure in the usual sense. Nor is it a metaphor. 
Moebius is first and foremost a not-linear dynamic which is not only 
recursive (in often unexpected ways) but is also in a condition of 
flow, relatively speaking, without starts and stops. It is not an 
abstraction but a logic of organization which effects whatever is 
created through and within it, no more abstract than the manifold 
notions of narrative. Moebius is a logic of organization which 
immediately foregrounds issues of complexity (in terms of systems 
theory, complexity theory) in how a film is put together, demanding 
that the film's organization be a significant way of entering into 
its world (its cosmos, as I put it), of trying to comprehend the film 
grounded within itself, rather than the analyst turning immediately 
to the worlds outside the film, to representation, asking what the 
film, its characters, their actions mean, or interpreting the film's 
symbolism and psychologies. Moebius organization suggests that the 
complexity of a film organized through this logic will be different 
from one organized through linearity, through most (perhaps all) 
forms of narrative. This suggests in turn that what can be 
done/effected/shown/hidden in a film organized through moebius or 
other not-linear logics will be other than that which in film 
organized linearly. Different kinds of complexity complexify 
differently. And this has an immediate effect on what is before our 
very eyes. Deleuze is interesting in these respects because he is 
open to these and other concerns that seem not to be part of the 
usual discourse on film, cinematic, literary, philosophical. Consider 
Deleuze as a philosophical writer of real science-fiction, concerned 
to address our worlds through the practice of logics of organization 
that permeate our lives and that therefore we are less or hardly 
aware of even as we practice these, and which may well abut 
science-fiction because of our lack of awareness. Consider Lynch as 
one film-maker who artfully plays with logics of organization through 
his invented cosmii, showing lives as they may be, even as the 
linearities that dominate Western sensibilities strive to deny the 
significance of these logics, driving them into linearity, including 
linear narratives. Consider how we can continue to write and speak of 
'reading film' when this may well be the very last act that a viewer 
will do with and to a film if, of course, at all.
Don
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