Cours de G. Deleuze sur Spinoza (27 janvier 1981)
La théologie négative : Dieu n'existe pas car l'existence, perçue humainement,... l'existence en termes humains ne sied pas à Dieu. Dieu existe éminemment !
god 's not he is /is not/as he is/ as his whatness is what's not
knotted
Yacine Sebti plays sounds & images with the KRL, a new instrument for digital performance invented by Rémi Dury and presented at iMAL, Tech Meeting#2, 27 Nov 2007, Brussels|||||||||||||||||||||||||||||||||||||||||||||||||
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Kant? Cant?~ !you mean you Can't ! Cant what? don't give me any ofthat cant cantilever! O architrave~ rave O reason of cellared moon~ and table d'raison~
Frisay is Fish day! Or fry day Fowl and Fish ray not manyray or meatdaynight. Or blood of the body and bone ~
France Culture
émission du vendredi 2 mai 2008
Kant, oeuvre ouverte
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| Par François Noudelmann Réalisation: Françoise Camar A propos de la philosophie de Kant, il semble qu'on ait déjà tout dit et que le lecteur d'aujourd'hui soit condamné à l'exégèse. Mais il existe plusieurs façons de contourner l'ordre imposant de la Critique kantienne. On peut relire les textes sur l'histoire, la paix et le droit et y découvrir une pensée moins systématique. On peut choisir aussi une clef pour relire toute l'œuvre à partir d'une notion phare comme le sublime. Ou encore, on peut dépasser le kantisme pour suivre les avatars de Kant à la lumière des grands débats contemporains. Assurément la construction européenne ou les contradictions entre citoyenneté et globalisation nous amènent à relire les analyses kantiennes du cosmopolitisme. Notre époque préfère cependant le pluralisme à l'universalisme, tant pour reconnaître la diversité culturelle que pour établir une justice internationale. Plus qu'un retour à Kant en bonne et due forme, il faut sans doute ouvrir cette œuvre à de nouvelles interrogations esthétiques et politiques. |
------------------------------- I found this fine intense performance of La Chant de la Carpe by Ghérasim LUCA performed by Dominique Fonfrède, French performance artist I've never heard of her and how could I have? But i have now and am passing this along...joyously... it's wonderful, intensely splendid, intelligent and repetitively stuttery done as a Lucas reading itself... she brings a light and visual beauty to his poem, that i usually don't picture when I've read him, or heard the few recordings of his . THe piano is jazzy and hides a somber river inside this performance of the text....
------------- Gherasim Luca was yet another Romanian poet who wrote and livin in Paris, he died in '94 ~(he took his own life by drowning, as did Paul Celan; it looks like drowning is the preferred method for poets who want to die by their own hand) ayear or so before Gilles Deleuze. Deleuze had been an admirer of Luca's writing for many years. . Deleuze spoke about his poetry in One Thousand Plateaus, and the Logic of Sense, an there might be an allusion to Lucas in Sensation of Logic, the book about the painter Francis Bacon
The french notes here are the youtuber's
"LE CRI DE LA CARPE, Dominique Fonfrède, voix
Ann Ballester, piano -Création au festival de Querbes en 1999
Interprété ici: le Chant de la carpe de Ghérasim LUCA (extrait de la vidéo de 15')
Toutes les images « scéniques » sont générées par des anamorphoses du corps des interprètes «calculées» par le logiciel After Effects. Le parti pris est celui d'une scénographie numérique dans laquelle le montage serait banni. La 3D multiplie les couches d'images pour produire un espace feuilleté qui ne cherche pas à imiter la profondeur naturelle de la scène. L'œil du spectateur ne dispose donc pas du confort convenu d'une profondeur de champ fictive (virtuelle). Ici c'est une oreille qui voit et accompagne l'évolution des formes au plus près du cheminement poétique."
Pessoa Pessoa what didjaya knowa?
knowa?knowa? ya new all
all all
ya knew allallall
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From Chrisopher Kinman's Territories of the Alive
whose owner
A Canadian blogger, who describes his project
as "Experiments in Rhizome -- the Blog"
Pessoa and his numerous heteroynms is the very picture of the plateau thinker, the maker of inventive masking, personafictation gracieuse
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"My favourite of Pessoa’s heteronyms was named Caeiro. Pessoa himself claimed that he (Pessoa) was a disciple of Caeiro. ...
A few of Caeiro’s words...Because I see it. But I don’t think about itAs Gilles Deleuze argued for the immanent, for a world where nature is able to speak, on its terms, within its on uncountable diversity, and as Gregory Bateson turned toward what he called the grammar of the Creatura, so also Pessoa... Through Caeiro he calls forth a world where we cease to assess and calculate, we cease to encapsulate, to reduce to simple terms, and we experience life as close as possible to where it is encountered, in the way it is encountered, with a language which sees, and in turn, loves."
Because thinking is not understanding...
The World was not made for us to think about
(To think is to be eye-sick)
But for us to look at and be in tune with...
I have no philosophy: I have senses...If I speak of Nature, it’s not because I know what Nature is,
But because I love it, and that’s why I love it,
For a lover never knows what he loves,
Why he loves or what love is...
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Immanence is kindness, by definition because of the nature of its this worldness. However, kindness in this regard is not a Christian virtue based on pity, but on the communism of thought, and the absennce of a theological boss, called God.
professor challenger joins the future the people which is callin'
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| the New Decider
Hillary's Western Swing
By MICHAEL DONNELLY
"I didn't make a speech. I made a decision."
--- Sen. Hillary Rodham Clinton, Eugene OR, April 5, 2008 |
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| Depuis 06:40:26 : | Académie des beaux-arts |
Diverses tendances traversent la création sculpturale depuis 1945. Tiraillement entre art abstrait et réalisme. Héritage assumé ou rejeté de Rodin, de Bourdelle et de Maillol, de Germaine Richier. Attrait enfin pour de nouveaux matériaux, notamment le métal et le plastique. Lydia Harambourg, historienne de l'art et correspondant de l'Académie des beaux-arts, analyse la richesse des inspirations dans l'histoire récente de la sculpture. Ecoutez la retransmission de la séance de l'Académie des beaux-arts du 5 mars 2008.Ought Mona to hold her shoe.Her shoe, holding her shoe.Her shoe held to the light. So to the light. Held to the light. its harmful hinder cared to the time. Wondererd at its loft. As her hair held up ~
Belgium - La Libre Belgique | 08/02/2007
The French philosopher Michela Marzano, has coordinated a 'Dictionary of the body'. She explains this work in an interview conducted by Geneviève Simon. "The idea was to gather about me a certain number of people who are already working on the body and to unite them around a unique project: an attempt to consider the body as a prism for reading today's society and a certain amount of uneasiness that characterises it. ... There exists a real cult of the body, but few people realise that the body we are talking about is an ideal body. The image of the body is proposed as a target everyone can reach although, as an ideal, it is unattainable. We also wanted to show that today we still have yet to extract ourselves from an on-going characteristic of the history of thinking: a dualism between body and mind. As a consequence of this opposition, many philosophers and intellectuals consider that soul, thought and reflection count more than the body, perceived as an obstacle - from an ideological point of view - to attaining knowledge and virtue."
from eurotopics
with other connecting ~
to ~Le corps démultiplie Le corps démultiplie Le c
s démultiplie Le c
orps démultiplie
| émission du vendredi 28 mars 2008 Actualités Foucault |
en the tiammes you were in the desert/ or nekked in the strait. wha' bout that th'en . were you living then professor intensity
MulTitUDes-ICones 2007~
___________________ replied to blog question/query not realizin' how it worked~
its quite amuse funny ~ "guattariandeleuzefictionmachineDeleuzoGuattarianFictionMachineFictions 3 Plateau 1999 and and and and...cut along your line of flight ... not fight...the schizoanalytic body in .... discontinues from other fiction sssssszzzzzzzzz schizo-analytic =P_rose poetry" its what I sent/ from fictionalization blog
from the ICones
Is MoDernity yer After Math ?/Martha Rossler
When the lights of civilization threaten to gutter out, I prefer oftento take refuge in science fiction, the vin ordinaire of speculators infutures. One ponders people imagining the same mistakes only in otherspace/time continua, with other presuppositions about the flickeringinterplay between organismic heritage, upbringing and context. Thehorizonless eternal present that is the nightmare of skeptics ofmodernity is temporarily suspended in the laws of the imagined worldsand times. In my participation in documenta, I have played dodge ballwith photography, using it as a trenching tool to excavate the truththat everyone already knows but which is perpetually swept under therug along with the rest of the dust and dirt.Meanwhile, the future may still be there, or not. Other factors, notsusceptible to our control, are likely to play a role.
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when you to the multitudes icones page refresh the page after looking, reading/perusing the work of varied artistes
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From:
Eric Alliez
Date:
Wed 21 March 2007 23:06:59 Europe/Paris
To:
Jennifer Allen
Subject:
Artforum
Dear Jen Allen,
Yes, Multitudes was in fact contacted by the organizers of Documenta to respond to the three themes/questions/entries and to participate in the Documenta Magazines web platform.
However, following our first long discussion with Georg Schollhammer, and after deliberating among the editorial committee, we decided to distance ourselves from the proposed format and to produce a more “autonomous” contribution -- in critical and clinical interface with Documenta’s proposition.
To do this, we are currently working on a second website (Multitudes-Icons) in which we will expand upon the journal’s contribution to the field of contemporary art, by calling into question the relationship between aesthetics and politics according to our own theoretical practice. As far as this project is concerned, let us say that this theoretical practice takes two principal forms: an immanent critique of cognitive capitalism and a radical critique of its forms of valorization and capture -- to which, as has become increasingly evident, the laboratory of contemporary art with its insides/outsides is not exactly foreign (see for example Multitudes 15: Contemporary art - the search for the outside; Multitudes 28: Extradisciplinary investigations - the critique of artistic institutions).
It may be useful to return to our questions concerning the Documenta device as it was presented to us.
Let us begin with the three questions, and the request for an intervention that would be collective enough to reflect what in previous times would have been called the journal’s “viewpoint.”
We immediately realized that these three themes, whose formulation oscillates between neo-academicism and journalistic abbreviation, and which would obviously have required deconstruction in an inevitable exercice de style that formed the very rules of the game, did not constitute vibrant questions capable of instigating and advancing any sort of collective articulation on our part. (The fact that these three themes have already been redefined differently in Multitudes also reinforced this “negative” determination). As a result, the idea of publishing our responses to questions imposed by Documenta, an event which we would then be de facto promoting, even while they controlled the entire process of selecting texts for the catalogue, appeared to be symptomatic of a contradictory state of affairs, especially considering the democratic-radical-experimental pretensions of the whole initiative. With only a preparatory series of more-or-less touristic meetings, and in the absence of any real discussion of content or collective control over the process, the project of a rhizomatic deployment of journals on Documenta’s web platform appeared to us, in its turn, to be quite problematic.
Furthermore, the impossibility of obtaining information about the event itself and the choice of works in it seemed to nourish outdated divides (incompatible with the journal’s practice, since Multitudes is not an “art magazine,” especially not the rubric “Icons” -- whose title is intentionally provocative, as its aim is to undo images). What also appeared is the division of labor traditionally managed by bureaucrats of art: between theoretical and artistic interventions, texts and images/installations, etc.
That said, our response is in no way the unveiling of a hidden “contradiction” that would animate our relation or non-relation with Documenta. Rather, it’s a matter of taking the opportunity to enter into the constitutive tensions of the politics of art in today’s societies of control and cultural distraction, by adding another turn of the screw... namely, a reversal of perspective according to the artist’s viewpoint on Documenta, establishing something like a “reverse ethnography” where the documenter’s work is observed, decoded and also parodied by the native subject, who becomes the “theoretician” and vanishing point of the device.
Not without relation to our culture of networked activism, our new site Multitudes-Icones seeks to generate interventions that will stimulate an “institutional critique” of the Documenta device by relating it to a broader reflection on politics of/in contemporary art. To do this we will begin with a gesture of ironic affirmation, by sending back to the “artists” three questions (duly de-formed and trans-formed, that is to say, forced), and asking them to evaluate the impact of their “theoretical” positions on their selection (“questions-entries”) or non-selection (“answers-exits”) by Documenta. It goes without saying that all kinds of material (discursive or non-discursive, signifying or not signifying) are welcome. Organized by entries and false exits in an open framework, each response can in its turn be articulated with others, so that hybrid or even “monstrous” answers are composed, transforming each user of the site into a curator-artist of (another?) virtual/real Documenta. Something that we might understand in terms of sublimation or desublimation, utopia or “liberating” dystopia.
A Critical Space will complete the project. Reserved for those identified or disidentified with art, but accessible to all the outcasts of the identifying regime, it will allow critics to organize and comment upon the three entries/exits based on their own evaluation of Documenta.
A blog -- or Clinical Space -- will be simultaneously opened on the site.
With sincere regards,
E. A.
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Identical almost postin
at guattari complexifictation
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||||||||||||||||||| book onDu visible au dicible: la pensée de la peinture moderne painting by e. alliez sheI like~ Big bad Badiou
& Big Bad Deleuze~
&
Mona likes~ all those odesiring-machines
she just foraged her film world~
'Badiou: The Grace of the Universal' in Polygraph, 17 [Special issue: The Philosophy of Alain Badiou], 2005
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where were you that day? ~ day of the last lectures ~ Leibniz ~ monsieur Plis et replis
"Cette histoire de la musique me donne des pointes de départ que je n'aurais pas eus sans cette seance de travail ' Deleuze archive sonores BnF ~
that June the day a month after Onan's Boundaries was performed in Old Montreal
with Nietzsche's Daughter ~ yes in the cage behind the veiled platform ~
was a hot day for alive performance
~
Indeed and music poetr y livin flesh of bodies speaking
and off in Paris
a t the course, the last one ~ later ~ Oui ~
I did radio for five years. Ways of Escape was the name of the show. Well, maybe i gotta do that again.I;; do it better this time. It was fun.
radio.
I used to interview poets, dancers, artists, people. I even brought a guy once, a friend's boyfriend, who ran a driving school. amazing the things you learn.
yea
