speak

_






 CP:what is going on here .. you ar e not riting ?CD I? irite to speak. i speak these days               in the radio of self of daily discourseintracoursing and wriitng poetries as i try. and breakin g           between the phonetic and conceptual aspectings of verse . as the curse rhyme/again(t)s the machine of i forget what aS

1.                      speaking is what a body is. becoming. and not being permitted to speak one sellf seeking 'outlets' like water from a vein, or tap, or water from tuplet? tulip, a TuLip to burn!

------------------------------------------As you know the body moving between

and  cumbering

cambering

O  clippping

. what does   radio deleuze know about this? and nothing and less . no claim, no prior claim to private discourse

____________________________________________________________________

... t... h...e....f .... o ...l ... d ... B...a ...r ... o.. q ...u....e

      

_________________________ Okay we'll speak with Leibniz

 Leibniz's optimism is really strange. Yet again, miseries are not what was missing;the best of all possibilities only blossoms amid the ruins of Platonic Good. If this world
exists, it is not because it is the best, but because it is rather the inverse; is the best
because it is, because it is the one that is. The philosopher is still not the Inquisitor he will soon become with empiricism, and he is even less the Judge he will become
with Kant (the tribunal of Reason).

 He is a  Lawyer , or God's attorney. He defends God's Cause, following the word that Leibniz invents, "theodicy." Surely the justification of God in the face of evil has always been a philosophical commonplace. But the Baroque is a long moment of crisis, in which ordinary consolation no longer has much value. 

There results a collapse of the world; the lawyer has to rebuild it, exactly the same world, but on another stage and in respect to new principles capable of justifying  it (whence jurisprudence). An aggravated justification has to correspond to the enormity of the crisis: the world must be the best, not only in its totality, but in its detail or in all of its instances.

    We clearly  witness a schizophrenic reconstruction:

                                                          God's attorney convenes characters who reconstitute the world

with their inner , so-called autoplastic modifications. 

Such are the monads, or Leibniz's Selves, automata, each of which draws  from its depths the entire world and handles its relations with the outside or with others as an uncoiling of the mechanism of its own spring, of its own prearranged spontaneity. Monads have to be conceived as dancing. 

                                                                                                                                                                          But the dance is the Baroque dance, in which the dancers are automata: there we have an                 entire "pathos of distance," like the indivisible distance between two monads (space);the meeting between the two of them becomes a parade, or development, of their respective spontaneities insofar as their distance sis upheld; actions adn reactions give way to a concatenation of postures allotted now and again through distance (Mannerism).

  The principle of optimism , or of the Best, saves the freedom of God; it is the game of the world and God that guarantees this liberty.

  6                                   8                                          6                             9

Incompossibility, Individuality, Liberty

 C. 5

The Fold

Lebniz and the Baroque

Written in the very words of the philosopher Gilles Deleuze

translated into the English

by

Tom Conley.

____________________________

where did the notes go that are contained in the text.
as the lawyer speaking. has no hand. in the summer err.

so it contains no text but merely the appearance as electronic air.

_______________

LECTURES BY GILLES DELEUZE

___________________________________________________________________________________

Table of Contents The Body, the Meat and the Spirit: Becoming Animal Capitalism: A Very Special Delirium Postscript on the Societies of Control Theory of Multiplicities in Bergson On Kant On Leibniz On Spinoza Capitalism, flows, the decoding of flows, capitalism and schizophrenia, psychoanalysis, Spinoza.

GILLES DELEUZE

this blog looks to  be closed

                                                      its owner

vanished

into unknown audio

territories 

sans

trace

sans

body

organ

nor

voice

leaving rich thought to become the humble beginner
~-____________________________________________________________________________________________________________________________________

http://deleuzelectures.blogspot.com/

Rhythm without Time

Corry Shores (Husserl Archives) & Scott Wollschleger (Manhattan School of Music):

Rhythm without Time : Difference & Phenomena

Conventional phenomenology in a way has something in common with a traditional understanding of rhythm. But is rhythm at its basis simply a repeating pattern that maintains self-sameness during an extent of time? And is a phenomenon something that is constituted over an extending period of duration, accomplished by means of enduring similarities that are associatively assimilated into a phenomenal object? Or could it rather be that rhythm and phenomena are fundamentally matters of pure difference alone? A Deleuzean phenomenology of the body involves a logic of differential rhythm. Deleuze articulates this sort of rhythm with the theoretical writings of Messiaen and Boulez. These composers challenge the traditional understanding of musical rhythm by defining it as what does not fit predictable self-same metrical patterns. And Deleuze challenges traditional phenomenology by defining the phenomenon as an instantaneous flash of difference communicated between heterogeneous series of differential terms. 


A Husserlian or Merleau-Pontian phenomenon requires the flow of time. A Deleuzean phenomenon however can only occur before the passive synthesis of time-consciousness has had the chance to homogenize the immediately given differential phenomenal data. We will explore Deleuze’s and more contemporary musical, cinematic, and painted examples of rhythm to offer not merely an interesting way to experience rhythm in these art forms, but also to suggest an alternate form of phenomenological investigation, based on Deleuze’s notion of phenomenal rhythm.

Corry Shores is a PhD student finishing his research at the Husserl Archives in Leuven, Belgium. His project seeks the basic principles for a Deleuze-inspired phenomenology.

Scott Wollschleger received his Masters of Music in composition from Manhattan School of Music. Recent performances include ones in Ghent, Berlin, Washington DC, and New York City. Mr. Wollschleger co-directs Red Light New Music, a non-profit organization dedicated to presenting new music. He is also the Director of publications for Schott Music New York.

—————————————

 



This event took place-------------------------------------------------------------------------------------------------------------------------------------------: 29 October 2011 

King’s Anatomy Theatre & Museum, 

6th Floor, King’s Building

King’s College London, 

Strand Campus, 

London, WC2R 2LS

You can hear the talk  at backdoorbroadcasting  web site as well as a second audio broadcast of 
  questions
                                      ~ o BLOGGERS AND readers Become Auditors.    ~.



                                                                       TUNE IN

AT

bACKDOOR broadcasting



______________________________

'... never .. in ... anger ....'

'Anthropologist Jean Briggs lived with an Inuit  family during the early 1960s, when she was doing research and writing about them for her doctoral              thesis. When she got "angry", they treated her as

a child, because they thought that "anger" was an infantile emotion, something never expressed by

Inuit adults. This experience led to many more years of research on the emotions and ideas by which Inuit lived, and how they learned and taught them.'

  from Ideas  the cbc radio programme

_______________

'... the war on liberties... .'

thinking  and looking at what governments do ...________ ... from 

 Alternative Radio

 Audio Energy for Democracy

Alternative Radio, established in 1986, is a weekly one-hour public affairs program offered free to all public radio stations in the US, Canada, Europe and beyond. AR provides information, analyses and views that are frequently ignored or distorted in other media. 

  Excerpt from  The War on Liberties

Program #HRMS001. Recorded in Portland, OR on October 03, 2011.

Voltaire said, "It is dangerous to be right when the government is wrong."

In the decade of fear since 9/11 the government has constructed a vast apparatus of control and surveillance. Your most obvious experience is at the airport but it extends way beyond that. Big Brother is watching. Basic liberties are under attack all in the name of protecting those liberties. National security is ritually invoked to cover a range of violations of the Constitution and the Bill of Rights. The beacon of freedom descends into a twilight zone of criminality. The state has 16 intelligence agencies with untold billions at their disposal in black budgets, operating in secret, carrying out black operations and following what are called presidential findings. Defending liberties is not what they are about. And they sometimes confuse dissent with disloyalty.

Susan Herman is President of the American Civil Liberties Union. She holds a chair as Centennial Professor of Law at Brooklyn Law School, where she teaches courses and seminars in Constitutional Law, Terrorism, and Civil Liberties. She is the author of “The Sixth Amendment” and “Taking Liberties.”

The War on Liberties

___________

did

 



                  ....' did anyone meet him... I mean Gilles ....'   nit  not again you mean? nit cough nor in cof it's a nail
...'


    '... it could be ?   ..'

__

were you?

                                                   Were you sleeping with the giant? an enemy disguised as a rival. Arrival at the 9 o'clock train, a sweet
restless train in a station to station glance . Along the letter S.


-- it-----------------------schooner and

it rhymes with Lunar

and one-eyed Jack

that`s me Clifford one-eyed for now

but that's not you

____________

rerere.: Mona around her hair_dig

What 's with you and the fault defont. is that a purgian thing to do . Orphan conscious fling her paperplane over the window. And blow the rainbow of the throughfare the . Place she missed when dying and her dyad. They smoke cigarettes, a foolish thing to collect to occupy their time.

------------------------does your fiction work as any radio? a crazy assemblage of many piece and part. A singular lip S. Not a plural S many.

As for the font, ahem well Jill has a thing for the doublfont of the comic versus the roman tie of the times imperial power design. who says uniformity in a page is design to god-- the oddball plane and surface of her sharing.

Mona around her hair

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Immanence and infinite life

______________---






desire as infinite life goes on forever. as it does the world's a flow a perfect atheist bow. with twanging
 strings attached and




   more as the gods prepare their soup.  
                                                  do the goddesses make ready the lipton can ?
                the lips sweet as red honey.




______________

and this

____________________________________

and this is how folding working

      how folding working
                            working fold






enveloping the Wings of William Blake's seraphim




                 and the bodies of road and city.


_________________


                                   __________________


                             and the xerox bodies contain their seed.




________________________ whispoetsper the 'high' eternity    ~






fRANNY: does this want to know the difference between, say a text printed and blogged?


 CD Mona is the capturing plane that knows live text appearing disappears round its radiant clipping self. A body is one a someone
                  to know make love with a text to work    ~ .




________________