Suidas in Philosophie 47 ______________recut-cut

Suidas in Philosophie 47 par André Bernold

This posting is the text of a cut-up I did of an English translation of Andre Bernold's obituary lament for Gilles Deleuze. It is , or was a sort of , fictionalized text when it was written and philosophizes and fictionalizes in high poetic lamentation Gilles Deleuze's place in the history of philosophers.

the cut-up technique is a methofd of re-aranging texts in several ways that often opens up latent or new perceptions in the original.

__


. Of the Three Testaments. The Galician, or Of Coldness, orOf Galician, or Of Coldness, or Of Cruelty. Of Larvae. Of the IdeaCruelty. Of Larvae. Of the Idea that Watches Us. Misosophy. Of thethat Watches Us. Misosophy. Of the Egg. Of the Clear and the Egg. Ofthe Clear and the Obscure. Of the Universal Spider. That Obscure. Ofthe Universal Spider. That Every Intensity is Agonizing. Of theEvery Intensity is Agonizing. Of the Sardine. On the Question „Who?Of Sardine. On the Question „Who? Of the Orgy. Of Nobody. OnUniversal the Orgy. Of Nobody. On Universal Collapse. In Praise ofLucretius. Of Collapse. In Praise of Lucretius. Of the Viscera. OfComplication. Handbook of the Viscera. Of Complication. Handbook ofTorsions. That It Is Agreeable Not Torsions. That It Is AgreeableNot to Explain Oneself Too Much. Of to Explain Oneself Too Much. Ofthe Singularities that Unsettle Us. Of the Singularities thatUnsettle Us. Of the Cloaca. Of the Triumph of the Cloaca. Of theTriumph of Slaves. The Cloak. What Belongs to Slaves. The Cloak.What Belongs to Us Under a More Subtle Solicitation. Us Under a MoreSubtle Solicitation. Of Absolute Depth. Of Unknown Joy. Of AbsoluteDepth. Of Unknown Joy. seems never to have been work seems never tohave been understood by anyone among philosophical folk. understoodby anyone among philosophical folk. In geometry, he discovered thepulsation In geometry, he discovered the pulsation of spirals. Hedeclared that the of spirals. He declared that the love of childrenfor their mother love of children for their mother repeats otheradult loves for other repeats other adult loves for other women.There was a multitude of women. There was a multitude of otherDeleuzes. Here is the list other Deleuzes. Here is the list of hisworks: Of the Event, of his works: Of the Event, in 34 books. Of theConstellations in 34 books. Of the Constellations that Pierce Us. Ofthe Impassability that Pierce Us. Of the Impassability ofIncorporeals. Of Paradox and Fate. of Incorporeals. Of Paradox andFate. On the Wounds that are Received On the Wounds that areReceived While Sleeping. Symptoms. On the Demons‚ While Sleeping.Symptoms. On the Demons‚ Leap. Of Tubercules. Of the Noble Leap. OfTubercules. Of the Noble Man. On the Ugliness of the Man. On theUgliness of the Human Face. Of Idiots. Of Invisible Human Face. OfIdiots. Of Invisible Witnesses. The Prince of Philosophers. OnWitnesses. The Prince of Philosophers. On Degrees. Of the ThreeTestaments. The oedema of the feet. We read in Aristoxenes of his Weread in Aristoxenes of his Treatise on the Refrain, the daringTreatise on the Refrain, the daring of which is extreme. One furtherof which is extreme. One further finds Of the Line, and Of finds Ofthe Line, and Of Sublime Images. Proclus recopies a very SublimeImages. Proclus recopies a very obscure passage on, the virgin, theobscure passage on, the virgin, the one who never lived, beyond theone who never lived, beyond the lover and beyond the mother, wholover and beyond the mother, who coexists with the one and iscoexists with the one and is contemporaneous with the other. In thecontemporaneous with the other. In the same spot, he says that everysame spot, he says that every reminiscence is erotic. Strabo insiststhat reminiscence is erotic. Strabo insists that he was anastonishing geologist. With he was an astonishing geologist. WithFélix he composed, aside from Against Félix he composed, aside fromAgainst Oedema, which also contains a Politics Oedema, which alsocontains a Politics and a Geography which are assuredly and aGeography which are assuredly never lived madly enough: On Strata,never lived madly enough: On Strata, that similarly includes aStrategy. That that similarly includes a Strategy. That work was thehour the hour, it was the hour of profound darkness; for there is ofprofound darkness; for there is much dread in his books. Even muchdread in his books. Even the sky suffered from its cardinal the skysuffered from its cardinal points and its constellations, he said.points and its constellations, he said. Regarding the element, muchhesitating is Regarding the element, much hesitating is permitted,for he speaks of everything permitted, for he speaks of everythingwith a rare splendor. He passionately with a rare splendor. Hepassionately loves the earth; Aratos says that loves the earth;Aratos says that he was a troglodyte. He celebrates he was atroglodyte. He celebrates the serried lines of the waters, theserried lines of the waters, and fire, according to him, is andfire, according to him, is soluble. His element nevertheless isaerial˜overhang, soluble. His element nevertheless isaerial˜overhang, suspension, and profound fall. He was suspension,and profound fall. He was also a doctor, the last to also a doctor,the last to treat medicine as an art. We treat medicine as an art.We cite two books on monsters, two cite two books on monsters, twoon wounds and the most famous, on wounds and the most famous, on theoedema of the feet. on the detested everything that diminished. Hewrote much, perhaps that diminished. He wrote much, perhaps morethan anyone else, if one more than anyone else, if one considers thedensity of his works. considers the density of his works. Eventhough he addressed logic and Even though he addressed logic andmorality at length, he must be morality at length, he must be placedin the ranks of the placed in the ranks of the physicists, indeed inthe first rank. physicists, indeed in the first rank. He left a textOf Nature He left a text Of Nature that Stobea ranks with those ofthat Stobea ranks with those of Heraclitus and Lucretius, andrelates an Heraclitus and Lucretius, and relates an oracle: in avery distant future, oracle: in a very distant future, nothing asgreat as it will nothing as great as it will have appeared, except acertain Ethics have appeared, except a certain Ethics that is notAristotle‚s. He said that is not Aristotle‚s. He said that threeanecdotes were sufficient: the that three anecdotes were sufficient:the place, the hour and the element. place, the hour and theelement. His own place was to be His own place was to be found inthe east. As for found in the east. As for the hour, it the oratorsof his time, and the greatest of those who made a greatest of thosewho made a profession of teaching philosophy. He was profession ofteaching philosophy. He was only understood by a small number. onlyunderstood by a small number. He was persecuted, the object of Hewas persecuted, the object of a jealousy that never abated. He ajealousy that never abated. He disdained these miseries because ofthe disdained these miseries because of the joy of his life, whichwas joy of his life, which was philosophizing. Possessed of a loftytemperament, philosophizing. Possessed of a lofty temperament, hemerely endured people. But formidable he merely endured people. Butformidable was his irony. His voice was was his irony. His voice wasmost extraordinary. Athenea compares it to most extraordinary.Athenea compares it to a rasp, then to a torrent a rasp, then to atorrent of pebbles. His elocution was of of pebbles. His elocutionwas of an extreme distinction, a bit weary, an extreme distinction,a bit weary, the diction slow and sweet. Apollodorus the dictionslow and sweet. Apollodorus compares his voice to that of compareshis voice to that of a sorcerer. He was a man a sorcerer. He was aman of perfect nobility, who detested everything of perfectnobility, who Deleuze, philosopher, son of Diogenes and Deleuze,philosopher, son of Diogenes and Hypatia, sojourned at Lyon. Nothingis Hypatia, sojourned at Lyon. Nothing is known of his life. Helived known of his life. He lived to be very old, even though to bevery old, even though he was often very ill. This he was often veryill. This illustrated what he himself had said: illustrated what hehimself had said: there are lives in which the there are lives inwhich the difficulties verge on the prodigious. He difficultiesverge on the prodigious. He defined as active any force that definedas active any force that goes to the end of its goes to the end ofits power. This, he said, is the power. This, he said, is theopposite of a law. Thus he opposite of a law. Thus he lived, alwaysgoing further than he lived, always going further than he hadbelieved he could. Even though had believed he could. Even though hehad explicated Chrysippus, it is he had explicated Chrysippus, it isabove all his steadfastness that earned above all his steadfastnessthat earned him the name of Stoic. He him the name of Stoic. He wasone of the most remarkable was one of the most remarkable orators ofhis time,



=================================

Le travail de l'affect dans l'éthique de Spinoza

__________________________________________




========================================

                                                        Nicholas James Bullen _ Brion Gysin _

... la création c’est la panique

                                                                                                  

 _________________________


                                 je dis c’est ça le processus, c’est ça ce qui nous emporte. Évidemment ça veut dire que pour moi les lignes de fuites, c’est ce qu’il y a de créateur chez quelqu’un. Les lignes de fuites, c’est pas des lignes qui consistent à fuir, bien que ça consiste à fuir, mais c’est vraiment la formule que j’aime                                                            beaucoup d’un prisonnier américain qui lance le cri : "Je fuis, je ne cesse pas de suivre, mais en fuyant je cherche une arme ?. Je cherche une arme, c’est-à-dire je crée quelque chose                                                                                                . Finalement la création  


c’est la panique, toujours, je veux dire, c’est sur les lignes de fuites que l’on crée, parce c’est sur les lignes de fuites que l’on n’a plus aucune certitude, lesquelles certitudes se sont écroulées. Alors je dis bien, voilà.


                    - Anti-Oedipe transcription : Frédéric Astier cours du 27/05/80

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care and caution

The critic is not the one who debunks, but the one who assembles. The critic is not the one who lifts the rugs from under the feet of the naïve believers, but the one who offers the participants arenas in which to gather. […] [I]f something is constructed, then it means it is fragile and thus in great need of care and caution.”
—


Bruno Latour, “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern”

et moi

.



   me and and Felix Felix are living in outer s p  a   c   e                    n o                w   ~



____________ the Milky way 

                                                                          we s aw   god the other day



  doing   good    he said

                     fine a s   one might expect


                                   'given' the conditions       ~






.

~Because

i ssssuspect Vico was there talking to Homer and a megaphone  utters the words I am: before


  So if one think s in lines of who goes first, and after all it's a daily question, for instance who gets in line first at a bus stop or who goes first at the cash register....

~Because





because if one's going to talk about firsts for sure Homer was there  before anyone
  and others were around crossing lines and dates of ancient  poesia and metaphysika

  Hesoid










            there's
 and            Sappho
   

 the great   Sophocles

Sophocles (pron.: /ˈsɒfəkliːz/^[1]; Greek: Σοφοκλῆς, Sophoklēs, Ancient Greek: [sopʰoklɛ̂ːs]; c. 497/6 BC – winter 406/5 BC)^[2] is one of three ancient Greek tragedians whose plays have survived. His first plays were written later than those of Aeschylus, and earlier than or contemporary with those of Euripides. According to the Suda, a 10th century encyclopedia, Sophocles wrote 123 plays 

 

 during the course of his life... only 7 left  (7 steps to heaven!)

 during the course of his life, but only seven have survived in a complete form: Ajax, Antigone, The Women of Trachis, Oedipus the King, Electra, Philoctetes and Oedipus at Colonus.^[3] For almost 50 years, Sophocles was the most-fêted playwright in the dramatic competitions of the city-state of Athens that took place during the religious festivals of the Lenaea and the Dionysia. He competed in around 30 competitions, won perhaps 24, and was never judged lower than second place. Aeschylus won 14 competitions, and was sometimes defeated by Sophocles, while Euripides won only 4 competitions.^[4]

 

 

^{AND THERES}

 

Aeschylus Euripides

now poets and other worry about who went first however,  
(are we talking about school here or the Olympics)
           Guattari says in What is philosophy the time comes when you look at the Friend witha  wary eye,
 a nd see a rival.... Arrival is not a rival....

                          who arrived prior t0 Homer?

 

          Mister Plato and the others come a far second an d third centuries later....

BUT WHAT DO FIRSTS MATTER IN THESE MATTERS
______________________________________________________

i  CONjure the spirit of Vico

 ______________________----Things go in Cycles

better said yet heard

 ----------

 

 

 

 — I apologuise, Shaun began, but I would rather spinooze

you one from the grimm gests of Jacko and Esaup, fable one,

feeble too. Let us here consider the casus, my dear little cousis

(husstenhasstencaffincoffintussemtossemdamandamnacosaghcusa-

ghhobixhatouxpeswchbechoscashlcarcarcaract) of the Ondt and

the Gracehoper.

 

-courtesy ---------of James Joyce---------------

 

'they were yung and easily freudened" 

 -------------------------------------

'un' secret dans Laruelle ~ d'été

___________________________________

“There is reason to revolt against the philosophers,” this is where philosophy, in its greatest triumph, only further encourages itself. 

This is the moment, when philosophy perhaps no longer recognizes

                                               the autonomy of science and   art


 that it denies their autonomy, and with the utmost subtlety.

Deleuze has discovered a secret — the secret or the property of philosophy, a secret which gives us the impression that it is very old and that it has been lost. He discovers the philosophical idiom, which now becomes alien to itself, but which

remains an idiom precisely because it has become the language of the infinite. The language of the good news is absolutely private and absolutely universal. Their coincidence is the peak of the self-contemplation of the philosophical community.

Hence the horror displayed towards transcendent artifacts like consensus and

communication.

Laruelle_________________________>

-----------------------------------------------------

i don't know if it's true that the last book co-signed by Felix Guattari and Gilles Deleuze subtly or not so sublty denies  the



          autonomy of Art , including Literature and Poetry. However I do know this:
  
It does not matter if it is the case. I've read the book several times, and I had not had that impression .

Quite the contrary I found it humble, and modest enough ( a notable change in philosophers but in character for Deleuze, and for Guattari)  for it to recognize the legitimate difference of realm 
proper to the three domains  ie. philosophy, science and art.


_________After all, it's not so new a  notion to imagine or think that philosophy holds precedence over art and artists. That argument goes back to Mister Plato and his not so sublte Republic of the philosopher kings lording it over the populace and keeping those 

ever so subtle poets and artist at bay, outside, along with other disagreeables..... Poor Plato, who spent half his life loving and hating Homer, and the other poets who did indeed come before him..


I have not read Laruelle but I like his name as it refers to a lane, or an alley, which means its the back of things, what goes behind and that is appealing,

 and has  a sort of short-hand that reminds of the idea of burrows, and roundabout things. As well, his name 

       being thought of this way, would make it  part of a neighborhood: and so his name and his thinking are 
a part of the neighborhood of thought and thinking, and thus of art and science.

          I say all of this without ever having read a word of his before ....  the quotes of Laruelle,  were taken from  
   Fractal Ontology, which appealed to me because of the combination of sounds
   that    
              Fractal  plus  Ontology create  juxtaposed thus.



bUT IN any case I like the pace of the translation  I like taking  a text and splicing it out that way  going over it again and seeing what's possible    ~ ,
I am interested in combines and parts and wholes that don't totalize.  so I right away caught the 

connection

to  an even older book  of interviews put together  by Sartre, Phillippe Gavi, and Pierre Victor.


_________________'On a raison de se révolter, livre d'entretiens avec le jeune homme et Philippe Gavi, où Sartre évoque entre autres les problèmes liés à l'engagement contestataire.'

___________ and so on goes on connecting and reconnecting, reconnoitering where one sees fit  ~

_______________there are no rules____________________ there are tunnels, passages, burrowing, pistils,

                                ever governing their sideways tangle and non-devolopment   ~

____________________________________

 the day  Deleuze died

di liu wrote:

 

I think there must be a rainbow a beautiful rainbow at that day. which is emiitted by Deleuze. since we are a becoming-universe, Deleuze must be a becoming-universe, too. He is free everywhere all over the cosmos.

solitude wrote:

 This is veryy beautiful and true we are lovers of deleuze and his friend and cothinker Guattari

 

___________________________________

____________________________not vOluMes

 

It’s like a set of split rings. You can fit anyone of them into 

                                       any other. Each ring, or each plateau, ought to have its own climate, its own tone or timbre. It’s a 

 

book of concepts. Philosophy has always dealt with concepts, and doing philosophy is trying to invent or create concepts. 

 

                                                  But there are various ways of looking at concepts. For ages people have used them to determine what something is (its essence). We, though, are interested in the circumstances in 

 

 

which things happen: in what situations, where and when does a particular thing happen, how does it happen, and so on? A concept, as we see it, should express an event rather than an essence. This allows us to introduce elementary novelistic methods into philosophy. A.concept like the ritornello, for example, should tell us in what situations we feel like humming a tune. Or take the face: 

 

 

 

we think faces have to be made, and not all societies make faces, but some need to. In what situations does this happen, and why? Thus each ring or 

                                plateau has to map out a range of circumstances; that’s why each has a date-an imaginary date-and an illustration, an image too. It’s an illustrated book. What we’re 

 

 

 

               interested in, you see, are modes of individuation beyond those of                 things,                                         persons, or subjects: the individuation, say, of a time of day, of a region, a climate, a river or a wind, of 

                                 an event. And maybe                                               it’s a mistake to believe in the existence of things, persons, or subjects.                                                 The title A Thousand Plateaus refers to these individuations that don’t individuate persons or things.”

1. 
   

—	that was Doctor  Deleuze, talking at in Negotiations

 Mona enters volumes bodies|constructing Cross-Assemblages

  ( 'call it halftexting')

 I am coast Bodies  volumE not screeNedare not volumes but coastlines;vable but undelimitable penetrabilities, opportunites for the real decomposition of space.She am lamblandtogouth

—

"The real empiricist world is… a world of exteriority, a world in which thought itself exists in a fundamental relationship with the Outside…"

— Deleuze, Pure Immanence: Essays on A Life

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16. ______________________________________________________________ 

____________NEitheR~

                                                                       ______________________

Neither Guattari nor myself are very attached to the pursuit or even coherence of what                                                           we 

 

 

write. We would hope for the contrary, we would hope that the follow-up to Anti-Oedipus 

 

 

breaks with what preceded it, with the first volume, 

 

and then, 

 

                                         if there are things

 

                                               that don’t 

 

 

work in the first volume, it doesn’t matter. I mean that we are not among those authors who 

 

 

think of what they write as a whole that must be coherent; if we change, fine, so there’s no 

 

 

 

point in talking to usabout the past. 

 

 

 

 

 

 

Deleuze speaking  on  a   Deserted Island 

----------------------------------------------

bet

.


 between the v irtual and the real there's room enough for the both




you bet!

.

La plupart

_______________________________________________________________

           La plupart du temps, quand on me pose une question, même qui me touche, je m’aperçois que je n’ai strictement rien à dire. Les questions se fabriquent comme autre chose. Si on ne vous laisse pas fabriquer vos questions, avec des éléments venus de partout, de n’importe où, si on vous les “pose”, vous n’avez pas grand-chose à dire.

— Gilles Deleuze et Claire Parnet, Dialogues, 1977

 

_____________________________________________

______________Intercesseurs

______________________________________

Ce qui est essentiel, c’est les intercesseurs. La création, c’est les intercesseurs. Sans eux il n’y a pas d’oeuvre. Ça peut être des gens - pour un philosophe, des artistes ou des savants, pour un savant, des philosophes ou des artistes - mais aussi des choses, des plantes, des animaux même, comme dans Castaneda. Fictifs ou réels, animés ou inanimés, il faut fabriquer ses intercesseurs. C’est une série. Si on ne forme pas une série, même complètement imaginaire, on est perdu. J’ai besoin de mes intercesseurs pour m’exprimer, et eux ne s’exprimeraient jamais sans moi : on travaille toujours à plusieurs, même quand ça ne se voit pas. A plus forte raison quand c’est visible : Félix Guattari et moi, nous sommes intercesseurs l’un de l’autre.
La fabrication des intercesseurs à l’intérieur d’une communauté apparaît bien chez le cinéaste canadien Pierre Perrault : je me suis donné des intercesseurs, et c’est comme ça que je peux dire ce que j’ai à dire. Perrault pense que, s’il parle tout seul, même s’il invente des fictions, il tiendra forcément un discours d’intellectuel, il ne pourra pas échapper au « discours du maître ou du colonisateur », un discours préétabli. Ce qu’il faut ; c’est saisir quelqu’un d’autre en train de « légender », en « flagrant délit de légender ». Alors se forme, à deux ou à plusieurs, un discours de minorité. On retrouve ici la fonction de fabulation bergsonienne… Prendre les gens en flagrant délit de légender, c’est saisir le mouvement de constitution d’un peuple. Les peuples ne préexistent pas.

D’une certaine manière, le peuple, c’est ce qui manque, comme disait Paul Klee. Est-ce qu’il y avait un peuple palestinien ? Israël dit que non. Sans doute y en avait-il un, mais ce n’est pas ça l’essentiel. C’est que, dès le moment où les Palestiniens sont expulsés de leur territoire, dans la mesure où ils résistent, ils entrent dans le processus de constitution d’un peuple. Ça correspond exactement à ce que Perrault appelle flagrant délit de légender. Il n’y a pas de peuple qui ne se constitue comme ça. Alors, aux fictions préétablies qui renvoient toujours au discours du colonisateur, opposer le discours de minorité, qui se fait avec des intercesseurs.

Cette idée que la vérité, ce n’est pas quelque chose qui préexiste, qui est à découvrir mais qu’elle est à créer dans chaque domaine, c’est évident, par exemple dans les sciences. Même en physique, il n’y a pas de vérité qui ne suppose un système symbolique, ne serait-ce que des coordonnées. Il n’y a pas de vérité qui ne « fausse » des idées préétablies. Dire « la vérité est une création » implique que la production de vérité passe par une série d’opérations qui consistent à travailler une matière, une série de falsifications à la lettre. Mon travail avec Guattari : chacun est le faussaire de l’autre, ce qui veut dire que chacun comprend à sa manière la notion proposée par l’autre. Se forme une série réfléchie, à deux termes. N’est pas exclue une série à plusieurs termes, ou des séries compliquées, avec bifurcations. Ces puissances du faux qui vont produire du vrai, c’est ça les intercesseurs…

— Gilles Deleuze, Les intercesseurs, Les Intercessors1990

 

__________ -----------whole and the ‘wholes’ ___________

The whole and the ‘wholes’ must not be confused with sets. Sets are closed, and everything which is closed is artificially closed. Sets are always sets of parts. But a whole is not closed, it is open; and it has no parts except in a very special sense, since it cannot be divided without changing qualitatively at each stage of the division. ‘The real whole might well be, we conceive, an indivisible continuity.’ The whole is not a closed set, but on the contrary that by virtue of which the set is never absolutely closed, never completely sheltered, that which keeps it open somewhere as if by the finest thread which attaches it to the rest of the universe.

 — Gilles Deleuze

Cinema 1: The Movement Image French: Cinéma 1. L'Image-Mouvement