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CoLlApSe ThRee UkNown DeleuZe

ProfChallenger Is there a challenger in the body-sans-organes? Yes, always the signatures of desire as the fire of wooPd. The stoic petal in the ecological furl .Its wave become-nervous centre of fissure furrow. So oui oui. We arrive here. This world this world, this ~ ...



Now this look to be good not boring at All. Exciting . Intelligeners. Creator thinker. Let us see, as we turn flip pages.

from Infinite thought these Joy:

COLLAPSE Volume III will be published in mid-October and is now available for advance purchase online.

Collapse Volume III: 'Unknown Deleuze' contains explorations of the work of Gilles Deleuze by pioneering thinkers in the fields of philosophy, aesthetics, music and architecture. In addition, we publish in this volume two previously untranslated texts by Deleuze himself, along with a fascinating piece of vintage science fiction from one of his more obscure influences. Finally, as an annex to Collapse Volume II, we also include a full transcription of the conference on 'Speculative Realism' held in London earlier this year.

Whilst books continue to appear at an alarming rate which claim to put Deleuze's thought 'to work' in diverse areas outside of philosophy, we submit, in this volume, that his philosophical thought itself still remains enigmatic, both in its detail and in its major themes. The contributors to this volume aim to clarify, from a variety of perspectives, Deleuze's contribution to philosophy: in what does his philosophical originality lie; what does he appropriate from other philosophers and how does he transform it? And how can the apparently disparate threads of his work to be 'integrated' ? What is the precise nature of the constellation of the aesthetic, the conceptual and the political proposed by Gilles Deleuze, and what are the overarching problems in which the numerous philosophical concepts 'signed Deleuze' converge?

The v

olume includes two newly-translated articles by Gilles Deleuze along with contributions from Arnaud Villani, Thomas Duzer, Quentin Meillassoux, John Sellars, Eric Alliez & Jean-Claude Bonne, Haswell & Hecker, Robin Mackay, Mehrdad Iravanian, J.-H. Rosny the Elder, Graham Harman, Iain Hamilton Grant and Ray Brassier.

gherasim Lucas ici a radio deleuze par ubu web

sound
ubuweb Ghérasim Luca, (1913 - 1994) | UbuWeb



1. Son Corps Leger


(La Fin Du Monde, 1969, In Parallpomenes, Paris)


2. Passionnément

As aired by Radio France's Atelier de Creation Radiophonique 04.12.2005 (additionnal music by Colleen).


3. Une vie une oeuvre

Ghérasim Luca (1913-1994)
Emission du 16 Janvier 2005

par : Lydia Ben Ytzhak
réalisation : Christine Berlamont

En 1994, un homme se jette dans la Seine. Après son ami Paul Celan. C’est Ghérasim Luca, le surréaliste né en Roumanie qui avait fait du français une langue étrange : la sienne. Une langue orale qu’il lisait lui-même, renversant d’un même verbe l’esprit et le corps. La rage qui le portait conjuguait une inquiétude métaphysique et un jeu, des mots qui glissent, un humour jamais très éloigné des larmes. Pour s’affranchir poétiquement de tous les automatismes sclérosés du sens, Ghérasim Luca a dû jouer avec les structures syntaxiques, faire bégayer la langue, inviter sa voix en incarnation rauque du corps tout entier.

Sa poésie, au départ d’inspiration alchimique et kabbalistique, offre par jeux de mots et balbutiements maîtrisés, l’image d’une humanité indomptable, « passant du dialogue au dé-monologue » et refusant de rester en équilibre « sur volupté et terreur » (Démonologue). Dès l’après-guerre, il rédigea un Manifeste non oedipien qui réclamait la disparition sociale de tous les comportements familiaux, ou de toutes leurs perversions. De Dialectique de la dialectique au Héros Limite , du Quart d’heure de culture métaphysique dans le Chant de la Carpe aux Paralipomènes et au Vampire passif , à La Mort morte, toujours sur le fil, il écrivait : « Comme le funambule à son ombrelle je m’accroche à mon propre déséquilibre. ».




Gérard Durozoi auteur de Histoire du mouvement surréaliste , (F. Hazan, 2004)

Thierry Garrel a contribué à l’édition du double CD "Gherasim Luca par Gherasim Luca", (éd. José Corti)

Patrice Delbourg auteur de Les Désemparés (éd.Le Castor Astral)

Sébastien Petibon
Ghérasim Luca par Ghérasim Luca
Co-édition Editions José Corti / Héros-Limite
Direction artistique : Nadèjda et Thierry Garrel
Mixage: Marc Ricard -Totem
Photo de Ghérasim Luca : Gilles Ehrmann
Pour la première fois sont diffusés dans le commerce des extraits des récitals mythiques donnés par Ghérasim Luca en France et à l'étranger, dont se souviennent tous les spectateurs de l'émission d'Océaniques « comment s'en sortir sans sortir » réalisée par Raoul Sangla.
Figurent ici trois textes inédits dont l'inoubliable « L'autre Mister Smith » (plus de cinquante minutes) et « Le Tangage de ma langue » - sorte de manifeste sur la poésie de l'auteur - ainsi que la plupart des « classiques » de Ghérasim Luca, tous publiés chez Corti.
Le Tourbillon qui repose****
Zéro coup de feu****
Le Tangage de ma langue°
Héros-limite*
L'Écho du corps*
Ma déraison d'être*
Auto-détermination*
La forêt****
Quart d'heure de culture métaphysique
Vers le non-mental****
Vers la pure nullité°
Son corps léger***
Hermétiquement ouverte*
La Question***
Prendre corps***
Passionnément **
La Clef****
L'Autre Mister Smith° (d'après Catherine Moore)
* in Héros-Limite
** in Le Chant de la carpe
*** in Paralipomènes
****in La Proie s'ombre
° inédit
GHÉRASIM LUCA
Né à Bucarest en 1913, Ghérasim Luca s'établit à Paris en 1952. Dès 1945 il s'attache à l'exploration du fonctionnement réel de la pensée et de l'acte (Le Vampire passif).
Dans un monde qui se désagrège, mais non les valeurs et les intuitions qui le sous-tendent et qui s'inscrivent dans la figure d'Œdipe, va émerger la poésie non-œdipienne (L'inventeur de l'amour, 1945 ; Le Secret du vide et du plein, 1947). Le langage se trouvera simultanément déconstruit et recomposé (Héros-limite, 1953).
Par le moyen d'opérations physiques sur le langage, Luca restitue une vibration évidente mais pourtant insoupçonnée logée dans les structures verbales (Sept Slogans ontophoniques, 1964 ; Sisyphe Géomètre, 1967 ; Le chant de la Carpe, 1973).
De cette approche procèdent également Les rituels de L'Extrême-Occidentale, 1961, Les transmutations de La CLef, 1960, Les genèses de La Fin du monde, 1973.
Mais surtout le poème quitte l'écrit, s'oralise (Crimes sans initiale, L'Autre Mister Smith : récitals), se visualise (Crier Taire, La Maison d'yeux : cubomanies, dessins).
Dans Paralipomènes, 1997, s'affirme la tendance à sortir du langage, à transgresser le mot par le mot, et le réel par le possible.
Enfin avec Théâtre de bouche, 1984, Luca se fait le metteur en scène des affres de l'homme axiomatique que La Proie s'ombre, 1991, condense et volatilise.
In «Le Cahier du Refuge» No 12 CICPM, juin 1991.


Biography (English)

Gherasim Luca (or Gherashim Luca) (July 23, 1913 - February 9, 1994) was a surrealist theorist and Romanian poet, frequently cited in the works of Gilles Deleuze and Félix Guattari.

Luca was born in Bucharest, the son of a Jewish tailor. He spoke Yiddish, Romanian, German and French. From 1938, he traveled frequently to Paris, France, where he was introduced to the Surrealist circles. World War II and the official antisemitism in Romania forced him into local exile. During the short pre-Communist period of Romanian independence, he founded a Surrealist artists group, together with Gellu Naum , Paun , Theodorescu and Dolfi Trost.

His first publications, including poems in French followed. He was the inventor of cubomania and, with Dolfi Trost, the author of the 1945 statement "Dialetic of Dialectic". Harassed in Romania and caught while trying to flee the country, the self-called "étran-juif" ("StranJew") finally left Romania in 1952, and moved to Paris through Israel.

There he worked among others with Jean Arp, Paul Celan, François Di Dio and Max Ernst, producing numerous collages, drawings, objects and text-installations. From 1967, his reading sessions took him to places like Stockholm, Oslo, Geneva, New York City and San Francisco. The 1988 TV-portrait by Raoul Sanglas Comment s'en sortir sans sortir made him famous for a larger readership.

In 1994, he was expelled from his apartment, officially for hygiene reasons. Luca, who had spent forty years in France without papers, could not react. On February 9, at the age of 80, he committed suicide by jumping in the Seine.

Gilles Deleuze, Félix Guattari : biographie croisée

Alors
here is something Unboring and very Timely


AlphaGalileo.Org - the Internet-based news centre for European science, engineering and technology.

Gilles Deleuze, Félix Guattari : biographie croisée, c’est le titre du livre que François DOSSE, enseignant-chercheur au Centre d’histoire culturelle des sociétés contemporaines, publie aux éditions La Découverte.

L'un était philosophe, l'autre psychanalyste. Figures majeures de la vie intellectuelle française de la seconde moitié du XXe siècle, leurs vies et leur œuvre commune sont emblématiques de cette période de bouillonnement politique et intellectuel que constituèrent l'avant et l'après-mai 1968. Gilles Deleuze (1925-1995) a enseigné la philosophie à l'université expérimentale de Vincennes. À partir d'une réflexion magistrale sur l'histoire de la philosophie, il s'engage dans un travail de création conceptuelle unique en son genre. Félix Guattari (1930-1992) était psychanalyste de formation et ancien disciple de Lacan. Militant de gauche aux multiples engagements, praticien à la clinique de La Borde, il a créé un collectif de recherche autogéré en 1966 : le Centre d'études, de recherches et de formation institutionnelles.

Les deux hommes se rencontrent en 1969. Ce sera le début d'une grande complicité amicale, d'une aventure intellectuelle sans guère de précédents. De L'Anti-Oedipe à Qu'est-ce que la philosophie ? en passant par Mille Plateaux, ils produiront une œuvre à quatre mains exceptionnelle, par son style vif et emporté, par son inventivité conceptuelle et la diversité de ses références, le tout au service de leur combat commun contre la psychanalyse et le capitalisme.

Dans cette biographie croisée, François Dosse, à partir d'archives inédites et d'une longue enquête auprès de nombreux témoins, met en évidence la logique d'un travail alliant théorie et expérimentation, création de concepts, pensée critique et pratique sociale. Il explore les mystères d'une collaboration unique, qui constitue une page toujours actuelle de notre histoire intellectuelle.

François Dosse, historien, est professeur des universités à l'IUFM de Créteil.


Reference URL
biography

Prologue. « Nous deux » ou l'entre-deux

I. PLIS : BIOGRAPHIES PARALLELES
1. Félix Guattari. Itinéraire psycha-politique : 1930-1964
2. La Borde, entre mythe et réalité
3. La vie quotidienne à La Borde
4. La recherche critique à l'épreuve de l'expérience
5. Gilles Deleuze : le frère du héros
6. L'art du portrait
7. Nietzsche, Bergson, Spinoza : une triade pour une philosophie vitaliste
8. Le deleuzisme : une ontologie de la différence
9. Mai 68 : la rupture instauratrice
II. DEPLIS : BIOGRAPHIES CROISEES
10. Feu sur le psychanalysme !
11. L’Anti-OEdipe
12. La machine contre la structure
13. La littérature « mineure » sous un regard croisé
14. Mille Plateaux : une géophilosophie du politique
15. Le CERFI dans ses oeuvres
16. La « révolution moléculaire » : Italie, Allemagne, France
17. Deleuze et Foucault : une amitié philosophique
18. Une alternative à la psychiatrie ?
19. Deleuze à Vincennes
20. 1977 : l'année de tous les combats
III. SURPLIS : 1980-2007
21. Guattari entre action culturelle et écologie
22. Deleuze va au cinéma
23. Guattari et l'esthétique ou la compensation aux années d'hiver
24. Deleuze dialogue avec la création
25. Une philosophie artiste
26. À la conquête de l'Ouest
27. Sous toutes les latitudes
28. Deux disparitions
29. L'oeuvre au travail
Conclusion
Index

the most boring deleuzians

Yes lets lest we do not knot create a list of the most boring deleuzians world wide webbed blogged et clogged. by mackerel soup:say the peated bog of same.


ASk Felix svPlait! okay soon! do it. we are speeding past remention.

this beautiful image

O Three Eyed ThiRd EyE to Plateaued!















thIS image beautiful image of Mister Deleuze & dear dead SpiNoza created by

Naxos

at

naxos


at radiO we point the Finger to Beauty of the ThreeEyed Philo
and the Quietly Contemplative Beauty of his Prince Baruch

_____________
NaXos is a blogger as well : outdoor link to pithy worthy positive interesting commentaries musings, and pointingnesses

DeVenIr

3
DEVENIR
❝On n’est pas dans
le monde, on devient
avec le monde[…].
❝La jeune fille et l’enfant ne deviennent
pas, c’est le devenir lui-même qui est
enfant ou jeune fille.
❝Aucun art n’est imitatif, ne peut-être
imitatif ou figuratif: supposons
qu’un peintre «représente» un oiseau;
en fait, c’est un devenir-oiseau qui
ne peut se faire que dans la mesure
où l’oiseau est lui-même en train
de devenir autre chose, pure ligne
et pure couleur.
❝Qui n’a connu la violence de ces séquences animales,
qui l’arrachent à l’humanité ne serait-ce qu’un instant,
et lui font gratter son pain comme un rongeur
ou lui donnent les yeux jaunes d’un félin? Terrible involution
qui nous appelle vers des devenirs inouïs.
❝Alors on est comme l’herbe: on a fait du monde,
de tout le monde un devenir, parce qu’on a fait un monde
nécessairement communicant, parce qu’on a supprimé
de soi tout ce qui nous empêchait de nous glisser entre
les choses, de pousser au milieu des choses.
QLP160
MP340
MP374
MP294
MP343-344
D9
D8-9
QLP105
MP367
❝Les devenirs, c’est le plus
imperceptible, ce sont
des actes qui ne peuvent
être contenus que dans
une vie et exprimés dans
un style.
❝La guêpe et l’orchidée donnent l’exemple. L’orchidée a l’air de former
une image de guêpe, mais en fait il y a un devenir-guêpe de l’orchidée,
un devenir-orchidée de la guêpe, une double capture puisque «ce que»
chacun devient ne change pas moins que «celui qui» devient.
La guêpe devient partie de l’appareil de reproduction de l’orchidée,
en même temps que l’orchidée devient organe sexuel pour la guêpe.
❝Le penseur n’est pas acéphale, aphasique ou analphabète, mais le devient.
Il devient Indien, n’en finit pas de devenir, peut-être «pour que» l’Indien
qui est Indien devienne lui-même autre chose et s’arrache à son agonie.
On pense et on écrit pour les animaux mêmes. On devient animal pour que
l’animal aussi devienne autre chose. L’agonie d’un rat ou l’exécution
d’un veau restent présentes dans la pensée, non par pitié, mais comme
la zone d’échange entre l’homme et l’animal, où quelque chose de l’un passe
dans l’autre. C’est le rapport constitutif de la philosophie avec la nonphilosophie.
❝Or quelle est l’affaire de la musique, quel est son contenu
indissociable de l’expression sonore? C’est difficile à dire,
mais c’est quelque chose comme: un enfant meurt,
un enfant joue, une femme naît, une femme meurt, un oiseau
arrive, un oiseau s’en va. Nous voulons dire qu’il n’y a pas
là des thèmes accidentels de la musique […] quelque chose
d’essentiel. Pourquoi un enfant, une femme, un oiseau?
C’est parce que l’expression musicale est inséparable
d’un devenir-femme, d’un devenir-enfant, d’un deveniranimal
qui constituent son contenu....

Rossellini Deleuze

Cours de Gilles Deleuze - Vincennes 1982
Stromboli de Roberto Rossellini 1950 (more) (

- Dell'Eterna Infamia Universale [1/2]-La TraHiSon- e Carmelo Bene... etc

Gilles Deleuze a Vincennes 1975-1976.
Del voltafaccia di Dio all'Uomo e al suo Popolo e del voltafaccia dell'Uomo e del Popolo di Dio a Dio.

London. Another Street.
Enter the corpse of KING HENRY THE SIXTH, borne in an open coffin;bearing halberds to guard it; and L Gentlemen ADY ANNE, as mourner.
Anne. Set down, set down your honourable load,
If honour may be shrouded in a hearse,	4
Whilst I a while obsequiously lament
The untimely fall of virtuous Lancaster.
Poor key-cold figure of a holy king!
Pale ashes of the house of Lancaster!	8
Thou bloodless remnant of that royal blood!
Be it lawful that I invocate thy ghost,
To hear the lamentations of poor Anne,
Wife to thy Edward, to thy slaughter’d son,	12
Stabb’d by the self-same hand that made these wounds!
Lo, in these windows that let forth thy life,
I pour the helpless balm of my poor eyes.
O! cursed be the hand that made these holes;	16
Cursed the heart that had the heart to do it!
Cursed the blood that let this blood from hence!
More direful hap betide that hated wretch,
That makes us wretched by the death of thee,	20
Than I can wish to adders, spiders, toads,
Or any creeping venom’d thing that lives!
If ever he have child, abortive be it,
Prodigious, and untimely brought to light,	24
Whose ugly and unnatural aspect
May fright the hopeful mother at the view;
And that be heir to his unhappiness!
If ever he have wife, let her be made	28
More miserable by the death of him
Than I am made by my young lord and thee!
Come, now toward Chertsey with your holy load,
Taken from Paul’s to be interred there;	32
And still, as you are weary of the weight,
Rest you, whiles I lament King Henry’s corse. [The Bearers take up the corpse and advance.
Enter GLOUCESTER.
Glo. Stay, you that bear the corse, and set it down.	36
Anne. What black magician conjures up this fiend,
To stop devoted charitable deeds?
Glo. Villains! set down the corse; or, by Saint Paul,
I’ll make a corse of him that disobeys.	40
First Gent. My lord, stand back, and let the coffin pass.
Glo. Unmanner’d dog! stand thou when I command:
Advance thy halberd higher than my breast,
Or, by Saint Paul, I’ll strike thee to my foot,	44
And spurn upon thee, beggar, for thy boldness. [The Bearers set down the coffin.
Anne. What! do you tremble? are you all afraid?
Alas! I blame you not; for you are mortal,
And mortal eyes cannot endure the devil.	48
Avaunt! thou dreadful minister of hell,
Thou hadst but power over his mortal body,
His soul thou canst not have: therefore, be gone.
Glo. Sweet saint, for charity, be not so curst.	52
Anne. Foul devil, for God’s sake hence, and trouble us not;
For thou hast made the happy earth thy hell,
Fill’d it with cursing cries and deep exclaims.
If thou delight to view thy heinous deeds,	56
Behold this pattern of thy butcheries.
O! gentlemen; see, see! dead Henry’s wounds
Open their congeal’d mouths and bleed afresh.
Blush, blush, thou lump of foul deformity,	60
For ’tis thy presence that exhales this blood
From cold and empty veins, where no blood dwells:
Thy deed, inhuman and unnatural,
Provokes this deluge most unnatural.	64
O God! which this blood mad’st, revenge his death;
O earth! which this blood drink’st, revenge his death;
Either heaven with lightning strike the murderer dead,
Or earth, gape open wide, and eat him quick,	68
As thou dost swallow up this good king’s blood,
Which his hell-govern’d arm hath butchered!
Glo. Lady, you know no rules of charity,
Which renders good for bad, blessings for curses.	72
Anne. Villain, thou know’st no law of God nor man:
No beast so fierce but knows some touch of pity.
Glo. But I know none, and therefore am no beast.
Anne. O! wonderful, when devils tell the truth.	76
Glo. More wonderful when angels are so angry.
Vouchsafe, divine perfection of a woman,
Of these supposed evils, to give me leave,
By circumstance, but to acquit myself.	80
Anne. Vouchsafe, diffus’d infection of a man,
For these known evils, but to give me leave,
By circumstance, to curse thy cursed self.
Glo. Fairer than tongue can name thee, let me have	84
Some patient leisure to excuse myself.
Anne. Fouler than heart can think thee, thou canst make
No excuse current, but to hang thyself.
Glo. By such despair I should accuse myself.	88
Anne. And by despairing shouldst thou stand excus’d
For doing worthy vengeance on thyself,
Which didst unworthy slaughter upon others.
Glo. Say that I slew them not.	92
Anne. Then say they were not slain:
But dead they are, and, devilish slave, by thee.
Glo. I did not kill your husband.
Anne. Why, then he is alive.	96
Glo. Nay, he is dead; and slain by Edward’s hand.
Anne. In thy foul throat thou liest: Queen Margaret saw
Thy murderous falchion smoking in his blood;
The which thou once didst bend against her breast,	100
But that thy brothers beat aside the point.
Glo. I was provoked by her sland’rous tongue,
That laid their guilt upon my guiltless shoulders.
Anne. Thou wast provoked by thy bloody mind,	104
That never dreamt on aught but butcheries.
Didst thou not kill this king?
Glo. I grant ye.
Anne. Dost grant me, hedge-hog? Then, God grant me too	108
Thou mayst be damned for that wicked deed!
O! he was gentle, mild, and virtuous.
Glo. The fitter for the King of heaven, that hath him.
Anne. He is in heaven, where thou shalt never come.	112
Glo. Let him thank me, that help’d to send him thither;
For he was fitter for that place than earth.
Anne. And thou unfit for any place but hell.
Glo. Yes, one place else, if you will hear me name it.	116
Anne. Some dungeon.
Glo. Your bed-chamber.
Anne. Ill rest betide the chamber where thou liest!
Glo. So will it, madam, till I lie with you.	120
Anne. I hope so.
Glo. I know so, But, gentle Lady Anne,
To leave this keen encounter of our wits,
And fall somewhat into a slower method,	124
Is not the causer of the timeless deaths
Of these Plantagenets, Henry and Edward,
As blameful as the executioner?
Anne. Thou wast the cause, and most accurs’d effect.	128
Glo. Your beauty was the cause of that effect;
Your beauty, that did haunt me in my sleep
To undertake the death of all the world,
So might I live one hour in your sweet bosom.	132
Anne. If I thought that, I tell thee, homicide,
These nails should rend that beauty from my cheeks.
Glo. These eyes could not endure that beauty’s wrack;
You should not blemish it if I stood by:	136
As all the world is cheered by the sun,
So I by that; it is my day, my life.
Anne. Black night o’ershade thy day, and death thy life!
Glo. Curse not thyself, fair creature; thou art both.	140
Anne. I would I were, to be reveng’d on thee.
Glo. It is a quarrel most unnatural,
To be reveng’d on him that loveth thee.
Anne. It is a quarrel just and reasonable,	144
To be reveng’d on him that kill’d my husband.
Glo. He that bereft thee, lady, of thy husband,
Did it to help thee to a better husband.
Anne. His better doth not breathe upon the earth.	148
Glo. He lives that loves thee better than he could.
Anne. Name him.
Glo. Plantagenet.
Anne. Why, that was he.	152
Glo. The self-same name, but one of better nature.
Anne. Where is he?
Glo. Here. [She spitteth at him.] Why dost thou spit at me?
Anne. Would it were mortal poison, for thy sake!	156
Glo. Never came poison from so sweet a place.
Anne. Never hung poison on a fouler toad.
Out of my sight! thou dost infect mine eyes.
Glo. Thine eyes, sweet lady, have infected mine.	160
Anne. Would they were basilisks, to strike thee dead!
Glo. I would they were, that I might die at once;
For now they kill me with a living death.
Those eyes of thine from mine have drawn salt tears,	164
Sham’d their aspects with store of childish drops;
These eyes, which never shed remorseful tear;
No, when my father York and Edward wept
To hear the piteous moan that Rutland made	168
When black-fac’d Clifford shook his sword at him;
Nor when thy war-like father like a child,
Told the sad story of my father’s death,
And twenty times made pause to sob and weep,	172
That all the standers-by had wet their cheeks,
Like trees bedash’d with rain: in that sad time,
My manly eyes did scorn an humble tear;
And what these sorrows could not thence exhale,	176
Thy beauty hath, and made them blind with weeping.
I never su’d to friend, nor enemy;
My tongue could never learn sweet smoothing words;
But, now thy beauty is propos’d my fee,	180
My proud heart sues, and prompts my tongue to speak. [She looks scornfully at him.
Teach not thy lip such scorn, for it was made
For kissing, lady, not for such contempt.
If thy revengeful heart cannot forgive,	184
Lo! here I lend thee this sharp-pointed sword;
Which if thou please to hide in this true breast,
And let the soul forth that adoreth thee,
I lay it open to the deadly stroke,	188
And humbly beg the death upon my knee. [He lays his breast open: she offers at it with his sword.
Nay, do not pause; for I did kill King Henry;
But ’twas thy beauty that provoked me.
Nay, now dispatch; ’twas I that stabb’d young Edward; [She again offers at his breast.	192
But ’twas thy heavenly face that set me on. [She lets fall the sword.
Take up the sword again, or take up me.
Anne. Arise, dissembler: though I wish thy death,
I will not be thy executioner.	196
Glo. Then bid me kill myself, and I will do it.
Anne. I have already.
Glo. That was in thy rage:
Speak it again, and, even with the word,	200
This hand, which for thy love did kill thy love,
Shall, for thy love, kill a far truer love:
To both their deaths shalt thou be accessary.
Anne. I would I knew thy heart.	204
Glo. ’Tis figur’d in my tongue.
Anne. I fear me both are false.
Glo. Then never man was true.
Anne. Well, well, put up your sword.	208
Glo. Say, then, my peace is made.
Anne. That shalt thou know hereafter.
Glo. But shall I live in hope?
Anne. All men, I hope, live so.	212
Glo. Vouchsafe to wear this ring.
Anne. To take is not to give. [She puts on the ring.
Glo. Look, how my ring encompasseth thy finger,
Even so thy breast encloseth my poor heart;	216
Wear both of them, for both of them are thine.
And if thy poor devoted servant may
But beg one favour at thy gracious hand,
Thou dost confirm his happiness for ever.	220
Anne. What is it?
Glo. That it may please you leave these sad designs
To him that hath most cause to be a mourner,
And presently repair to Crosby-place;	224
Where, after I have solemnly interr’d
At Chertsey monastery this noble king,
And wet his grave with my repentant tears,
I will with all expedient duty see you:	228
For divers unknown reasons, I beseech you,
Grant me this boon.
Anne. With all my heart; and much it joys me too
To see you are become so penitent.	232
Tressel and Berkeley, go along with me.
Glo. Bid me farewell.
Anne. ’Tis more than you deserve;
But since you teach me how to flatter you,	236
Imagine I have said farewell already. [Exeunt LADY ANNE, TRESSEL, and BERKELEY.
Glo. Sirs, take up the corse.
Gent. Toward Chertsey, noble lord?
Glo. No, to White-Friars; there attend my coming. [Exeunt all but GLOUCESTER.	240
Was ever woman in this humour woo’d?
Was ever woman in this humour won?
I’ll have her; but I will not keep her long.
What! I, that kill’d her husband, and his father,	244
To take her in her heart’s extremest hate;
With curses in her mouth, tears in her eyes,
The bleeding witness of her hatred by;
Having God, her conscience, and these bars against me,	248
And nothing I to back my suit withal
But the plain devil and dissembling looks,
And yet to win her, all the world to nothing!
Ha!	252
Hath she forgot already that brave prince,
Edward, her lord, whom I, some three months since,
Stabb’d in my angry mood at Tewksbury?
A sweeter and a lovelier gentleman,	256
Fram’d in the prodigality of nature,
Young, valiant, wise, and, no doubt, right royal,
The spacious world cannot again afford:
And will she yet abase her eyes on me,	260
That cropp’d the golden prime of this sweet prince,
And made her widow to a woeful bed?
On me, whose all not equals Edward’s moiety?
On me, that halt and am misshapen thus?	264
My dukedom to a beggarly denier
I do mistake my person all this while:
Upon my life, she finds, although I cannot,
Myself to be a marvellous proper man.	268
I’ll be at charges for a looking-glass,
And entertain a score or two of tailors,
To study fashions to adorn my body:
Since I am crept in favour with myself,	272
I will maintain it with some little cost.
But first I’ll turn you fellow in his grave,
And then return lamenting to my love.
Shine out, fair sun, till I have bought a glass,	276
That I may see my shadow as I pass. [Exit.

abstractmachine » Logique de la sensation

je remember mister e from le old deleuze guattari list. our father was alive then. dead. gone as was. day old guy wroted good things. hurled to sky over death .

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

february, 2007

Logique de la sensation

Filed under: thesis, abstractmachine — Douglas Edric Stanley @ 15:45 pm

I was working on Gilles Deleuze’s concept of the « egg » this afternoon when I stumbled upon this cachet of notes I had apparently stored at the back of my copy of the 1981 edition of « Logique De La Sensation ». They revealed a series of conceptual diagrams I had made of each chapter of this amazing book.

I had totally forgotten these notes as they were part of a project I had to abandon for legal reasons.... Basically what happened was the copyright holders at Bacon’s estate turned out to be just too darn stuffy to work with.... [to darn stuff! wonder what he means by that: territorial, capitalist? money grubbers? prb. what a fashame! ) At the same time the French publisher {right on them famous friendly french publihsers was being equally difficult. Deleuze was too sick at the time to be troubled with getting his editor to open up his book (he was coming out of yet another failed lung surgery), so I had a doubly impossible situation. If I remember correctly, Deleuze threw himself out of a window to end his physical suffering just about the time I was trying to get this project off the ground, which pretty much hammered the last nail into the coffin of this project (yes, that’s an intentional bad joke, but one should always show irreverence for one’s heros ;-)||Indeed out the Window With thee Old Project| CHuck chuck out Widow Window logic and sensations and back to Frill Plateaus. O I Mean that's MOuth

South to MoUth . ....

So I moved on to other things and eventually forgot all about the 12 months I had put into this project. Until I found these little notes.

abstractmachine » Logique de la sensation

[Reader-List] relay :: [Reader-list] "Discussions about Politics and Design", Ze Dos Bois (Lisbon) September, 20-21, 2007.

[Reader-List] relay :: [Reader-list] "Discussions about Politics and Design", Ze Dos Bois (Lisbon) September, 20-21, 2007.: "ii/ GREY WEATHER AT LA GRANDE JATTE : SEURAT VERSUS DUCHAMP. By Eric Alliez (In French) « The most important scientific mind of the 19th century, more than Cezanne, was Seurat, that died at the age of 32.' This specific affinity felt by Duchamp for Seurat will be the center of this presentation. Another important question will be the Seurat's contradictory heritage, especially in the confrontation between Matisse and Duchamp. In Modern art, there is this point that is not related to pictural Modernism but on the contrary, through forces and forms, to an archeology of the contemporary, of which Matisse and Duchamp are precisely the two fundamental paradigms.


Eric Alliez is a philosopher, professor at Middlesex University, London, since 2004. Scientific director and editor of the complete works of Gabriel Tarde (Empêcheurs de penser en rond/Le Seuil, Paris) and Gilles Deleuze, Immanence et vie (with Danielle Cohen-Levinas, Françoise Proust, Lucien Vinciguerra, PUF, Paris, 2006), creator and co-editor of the review Multitudes. His most recent books are La Pensée-Matisse (with Jean-Claude Bonne, Le Passage, Paris, 2005) and L'Œil-"

La gauche selon Gilles Deleuze : Rénover la politique

La gauche selon Gilles Deleuze : Rénover la politique: "a gauche selon Gilles Deleuze 7b12e8037cf85dc9151dfe8ad46980ab.jpgL'Abécédaire de Gilles Deleuze, 1988 CLAIRE PARNET: Nous allons parler d'une chose très sérieuse: ton appartenance à la gauche. (rires) Ca à l'air de te faire rire... j'en suis très très contente. Comme on l'a vu, tu es issu d'une famille bourgeoise de droite et, dès la libération, tu es plutôt ce qu'on appelle 'un homme de gauche'. Enfin, allons moins vite.... D'abord, à la libération, beaucoup de tes amis, beaucoup de gens autour de toi - qui étais étudiant en philosophie - adhèrent au P.C. ou sont très liés au P.C. GILLES DELEUZE: Tous y sont passés, oui. Il n'y a que moi, je crois... CP: Alors, toi, comment y as-tu échappé ? GD: Ce n'est pas tellement compliqué. Tous mes amis y passaient. Moi, qu'est-ce qui m'en a empêché ?, C'est parce que, je crois, j'étais très travailleur, et que je n'aimais pas les réunion. Ca, je n'ai jamais aimé: les réunions où on parle éternellement, tout ça, j'ai jamais supporté. Être du P.C. à ce moment là, c'était des réunions de cellule tout le temps. C'était l'époque - j'ai un point de r"

: Captive captured by proust

reading Proust when im 18 the day. theflash of memory . as i read. near ryan's st.urbain. street. the flus h
of memory
picking up the bag with my jeans
in them
felicity comeing into the room
return of the room
a month previously
memory's call needs
no theoretical justification when
a man like marcel proust's mapped
the terrain
cartogram of soul
yes the flying memory
et ca

Dal documentario "Alla Ricerca di Marcel Proust" di Attilio Bertolucci. Voci narranti di Romolo Valli e Giorgio De Lullo. Testimonianze lasciate sul grande scrittore francese da parte di Francois Mauriac, Daniel Halèvy, Georges De Lauris, Paul Morand, Jean Cocteau, Celeste Alberet.

"La bêtise"

Tuning in... here ... blocage de la pensee... thought it stopped... before errors.... chez... trouvez les problems... arrive to think Difference.. Doctor Difference ... le seul.. le seul negativitie... est la betise... other form negativitie.... line of cut & run N.. to around the pool of spondee and rough leaf of potatoe farrow... so you put to work.... force, le betise est une condition de la pensee.... you think translation accent... body rubbing againt SORTIE


thinkin is not a question of good will... we cherche des rencontres... yes...

Première des forces qui nous bouscule, le vent de la bêtise. Allons vite construire des moulins !

la bete est pas animal... la betise c'est la facultie des faux problemes.....

La bêtise
Uploaded by DocMango

Taken: 06 septembre 2007Location:Tromelin Island, France


merci Doc Mango

POK2: DeleuzeFest

POK2: DeleuzeFest: "Well yesterday was a Deleuze-Fest. In the morning I talked rather wildly, about Deleuze's hypothesis that we could encompass post-modern and post-structuralist vertigo by invoking the mdel of the Baroque as a neo-Baroque paradigm. I find it quite liberating and convincing but the students were quite sceptical -maybe thinking I was asking them to sculpt like Bernini or throw away their innate modernisms."

A song for this amazing Philosophe