Dumped from a current chapter:
As a centre or zone of indetermination the affect image is then where things may happen, but this interval is extended, in some cases interminably in the cinema, where in its extreme form that which does happen is never sufficient to the situation. This is the real regime of the affect image for affect is not merely this realm of possible decision but is much more specifically for Deleuze (following Bergson) the remainder that is not expended, spent, disseminated via action. (Bresson’s Diary of a Country Priest offers a beautiful example of its famous final shot where the death of the priest is off camera, narrated to us, where narrative action is absolutely evacuated from the visible image.) This is because the sensory motor schema that underwrites this model is premised upon an economy of forces or flows where something is perceived, a decision is made, and an action occurs. In the regular course of events this action is understood to be adequate to the perception where the action responds adequately to the perception. There is no remainder, the stimulus is spent by the stimulation. In affect, however, the action does not meet the demand of the perception, and this remainder then creates and produces what we take to be affect. I desire that person, I court, seduce, wonder, dream, touch, make love, build a family with them.
Affect is a qualitative, not a quantitative, field, which is why the list can continue, will never be done, and each act can never be enough.