11.30.2008

germaine dulac and artaud

.


THE SMILING MADAME BEUDET (La Souriante Madame Beudet)

France 1922 Dir. Germaine Dulac 35 min.

All your differences and repetition have hailed this moment. Signals of transcendence leading back to emmmitting particle of immanence . Its assemblage the great earth itself, not the nihilist of religion.



author of the
La coquille et le clergyman—?

The importance of being an Author _




THere is a claim made by Dulac that she was the author of the filmscrript The Clergyman and

"In November of 1927, Germaine Dulac wrote a letter to the editor of La Nouvelle Revue Française, to lament that, in publishing the scenario of La coquille et le clergymanthe film she had recently directed from a script by Antonin Artaud—the journal had omitted to mention her as the “author” (1). In her missive, Dulac stressed that she did not mean to attack the journal nor Artaud...
who had on other occasions voiced his dissatisfaction with her adaptation and in this issue prefaced his script with an article that clarified his position in relation to the film (2). Her elegantly phrased complaint ended with a reminder about a conversation that she had had with the editor, in which both had hoped that “les intellectuels et le cinéastes se rapproches, or, ce sont des nuances de mots qui les séparent irrémédiablement” (the intellectuals and the filmmakers should develop a closer kinship to one another, for it is only nuances between words that irremediably keep them apart)/

Questions of authorship, ownership and propriety. The source,becomes the problem when the action is the issue.


for the remainder of the essay which these questions of authorship
see 'the importance of being a film author'~ .

Deleuze discusses Artaud's conception of cinema,in the light of his own conception of the three modalities of film.. of time, image and movement ... and listing a number of film-makers whose work shows similar tendencies. . He talks about Artaud's
film "
le seul film qui fut exécuté c’est La Coquille et le Clergyman" and the conditions surrounding it, and
the relations between Germaine Dulac and the poet. Artaud said some very mean things about her, and the question of who wrote what and how, is not settled yet.
Deleuze throws light on these matters as well as putting the thing in context in relation to Artaud's overall project.



C’est Artaud, c’est Antonin Artaud. Car, il lui arrive une drôle d’aventure sur laquelle, je crois, on n’a pas fait le jour, car comment faire le jour sur quoi que ce soit concernant Artaud ? Artaud pense à tort ou à raison avoir des idées sur le cinéma et comment faire un film. Il a fait lui-même des scénarios, des scénarii, ah, il en a fait. Il se trouve que là a été tourné dans des conditions qui restent pour moi obscures - je sais pas si l’état des textes... il y a sûrement des textes que je ne connais pas, il faudrait demander à l’éditrice d’Artaud - enfin tel que je vois les choses c’est une vrai bouillie. Il fait son scénario ; le seul film qui fut exécuté c’est La Coquille et le Clergyman.

Bon, il fut exécuté par Germaine Dulac, qui était quand même un très très bon cinéaste, un très grand cinéaste. Bien. Les choses deviennent moins claires. Est-ce que Artaud a participé au tournage ? Est-ce que même il a participé à - sans participer au tournage même - est-ce qu’il a participé activement à l’adaptation du scénario, au découpage ? Les uns disent oui je crois, les autres disent non. Certains textes d’Artaud sont très louangeurs vis-à-vis Germaine Dulac ; certains textes d’Artaud sont abominables et traitent la pauvre Germaine Dulac comme une chienne. Et il dit, elle a rien compris. Bon. Et la situation devient encore plus obscure si vous y pensez, puisque Artaud dit, « on m’a tout volé ». Non seulement on a mutilé, on a trafiqué, on a défiguré mon film La Coquille et le Clergyman, mais, c’était en fait le premier film surréaliste. Et il en veut beaucoup et à Buñuel et à Cocteau, et il dit eux après, avec Buñuel et avec Cocteau, ils ont pris des recettes. Ils ont pris des recettes. Mais, ils ont raté l’essentiel qui était dans La Coquille , ou qui aurait dû être dans La Coquille et le Clergyman. A savoir ils ont raté l’âme. C’est des recettes et tout est devenu arbitraire. Bon, on avance un peu. Qu’est-ce qu’il veut dire ? Il veut dire, ils ont fait des films oniriques. La situation alors se complique encore plus, parce que, quand on voit La Coquille et le Clergyman, ça paraît en effet le premier film surréaliste, parce que pur film onirique. Et il dit, Germaine Dulac c’est une vilaine, parce qu’elle n’a rien compris à mon scénario et à mon film, elle l’a transformé en rêve. Ah bon ! Donc, il dit à la fois, c’est le premier film surréaliste et c’est même le seul, mais en même temps, il dit surtout c’est pas un film onirique - ou ça n’aurait pas dû être un film onirique. C’est une bouillie cette histoire ! Alors quoi c’est... Parce que, qu’est-ce qu’il reproche ?



the remainder of this complex discussion

may be found

at Le voix de Gilles Deleuze

Deleuze - Cinéma cours 20 du 25/05/82 - 2









11.29.2008

the Fictions__o f Je An - PaUL Sartre: Saint Deleuze

Saint Deleuze Philosopher and Teacher
Il était notre professeur disait Deleuze dans Ile déserte.... déserte le texte...et trouve le territoire
a Biography by Jean-Paul Sartre


the Fictions__o f Je An - PaUL Sartre: Saint Deleuze
_________________________________________
Pure fiction _ mY Love ~ Don't take yerself so SerioUSlee. Monsieur Afictive.

a musmusmusicacacacacacacallll L statement~


---------- Turn on your Radio so you Know it's got soul
Le docteur dits que le music est le bonne cure pour toutes les blessures,non? oui oui, c'est vrai...a lors AloRSSS

via A musical statement which is a cool blog with a select gang of audio clips of poets, writers, musicans and philos... downloadable. So Radio Deleuze vous suggère cette blog



ON NE ÉCHAPPE PAS À LA MACHINE
Amusical Statement dig





Deleuze dances aroundhis room. Between Bodhisattva and Rumi there's space for change, transcendence and desire. But not the beat of dead-beat.S.. but worthy swimmers in the fight for consciousness coincidence and unconsciousness.




Tracklist:
1. Carmelo Bene - On Ne Échappe Pas À La Machine
2. Adriano Modica - Il Gigante Si Sveglia (from the album "Il Fantasma Ha Paura", 2007)
3. Eels - Woman Driving, Man Sleeping (from the album "Souljacker", 2001)
4. Franz Kafka - Il Processo (read by Roberto Pedicini, Rai Radio 3, "Ad Alta Voce" - excerpt)
5. Peter Broderick - Moment (from the album "Docile", 2007)
6. Hector Zazou - Enoch Arden (from the album "Geologies", 1989)
7. Gilles Deleuze - Vincennes, 1975 (excerpt)
8. No-Man - Returning Jesus (from the album "Returning Jesus", 2001)
9. Ughima - Paradiso Provvisorio (unreleased)
10. Kurt Vonnegut - Slaughterhouse Five (read by Ethan Hawke - excerpt)
Dig the links for more to
Musical statment. Ya dig

Yea, Daddio I dig.Ya cool Doctah.

Reposted here by Radio Deleuzah
Scarica e ascolta il nuovo Musical Statement!
Download and listen to this week's Musical Statement!

11.28.2008

Mr Folding and M r S FolDing S In Fold ~

Deleuze discussing Foucault...'s concept or notion of the Outside ~

The outside is not a fixed limit but moving matter animated by peristaltic movements, folds and foldings that altogether make up an inside: they are not something other than the outside, but precisely the inside of an outside.


Some readers consider this to be a weak translation of
Deleuze's portrait of Foucault, trans. Séan Hand. Minneapolis: University of
Minneapolis Press, 1988.

In any case the excerpts below
are a intersting slope out
Out ~


"Deleuze’s understands the fold as both abstract and physical. Vidler translates, “folds exist in space and in time, in things and in ideas, and among their unique properties is the ability to join all these levels and categories at the same moment.” The fold puts the inside and outside in relation. Deleuze, in the final chapter of Foucault writes, “The outside is not a fixed limit but moving matter animated by peristaltic movements, folds and foldings that altogether make up an inside: they are not something other than the outside, but precisely the inside of an outside.” It is a moment of transition where all things exist and are mediated, joined both physically and conceptually."



Elizabeth Grosz, in Architecture from the Outside, extends (indirectly) the Deleuzian fold to encompass the real and virtual. Grosz structures the idea of the virtual, as opposed to the actual, as a way of relating and connecting past with present with future, and space with time. The interaction of the virtual with the actual allows overlaps and singularities of duration, memory, past, and present. It allows for simultaneity (a single point) and infinity to occur at the same time. “The past exists, but in a state of latency or virtuality . . . The present can be understood as . . . the point where the past intersects most directly with the body.” Virtuality relates the condition of the present within the scope of the past (and hence future) creating the body as the point of interaction with duration as a component of time.



Quotings fold ffrofroahahfrafraahahuhuhmm Wilson

11.27.2008

Penthesilea

O Kleist Kleist Keist for Kleist sake!

....Why is the line of
flight a war one risks coming back from defeated, destroyed, after having
destroyed everything one could? This, precisely, is the fourth danger: the
line of flight crossing the wall, getting out of the black holes, but instead of
connecting with other lines and each time augmenting its valence, turning
to destruction, abolition pure and simple, the passion of abolition. Like
Kleist's line of flight, and the strange war he wages; like suicide, double suicide,
a way out that turns the line of flight into a line of death. ....

Kleist: everything with him, in his writing as in his life, becomes speed
and slowness. A succession of catatonic freezes and extreme velocities,
fainting spells and shooting arrows. Sleep on your steed, then take off at a
gallop. Jump from one assemblage to another, with the aid of a faint, by
crossing a void. Kleist multiplies "life plan(e)s," but his voids and failures,
his leaps, earthquakes, and plagues are always included on a single plane.
The plane is not a principle of organization but a means of transportation.
No form develops, no subject forms; affects are displaced, becomings catapult
forward and combine into blocks, like the becoming-woman of Achilles
and the becoming-dog of Penthesilea. Kleist offers a wonderful
explanation of how forms and persons are only appearances produced by
the displacement of a center of gravity on an abstract line, and by the conjunction
of these lines on a plane of immanence. He is fascinated by bears;
they are impossible to fool because their cruel little eyes see through
appearances to the true "soul of movement," the Gemut or nonsubjective
affect: the becoming-bear of Kleist. Even death can only be conceptualized
as the intersection of elementary reactions of different speeds. A skull
exploding, one of Kleist's obsessions. All of Kleist's work is traversed by a
war machine invoked against the State, by a musical machine invoked
against painting or the "picture." It is odd how Goethe and Hegel hated this
new kind of writing. Because for them the plan(e) must indissolubly be a
harmonious development of Form and a regulated formation of the Subject,
personage, or character (the sentimental education, the interior and
substantial solidity of the character, the harmony or analogy of the forms
and continuity of development, the cult of the State, etc.). Their conception
of the Plane is totally opposed to that of Kleist. The anti-Goetheism,
anti-Hegelianism of Kleist, and already of Holderlin. Goethe gets to the
crux of the matter when he reproaches Kleist for simultaneously setting up
a pure "stationary process" that is like the fixed plane, introducing voids

and jumps that prevent any development of a central character, and mobilizing
a violence of affects that causes an extreme confusion of feelings .
. □ 269
1730: BECOMING-INTENSE, BECOMING-ANIMAL ..


.








So a commentator... here in this excerpt below... caught off momenting...... in the glosses on the internet some space, of which to each is Kleist. and Lens O Poor Lens...
----------------"In Mille Plateaux, Deleuze and Guattari repeatedly contrast Goethe negatively in light of Kleist's work. For example, they state, »Tout l'oeuvre de Kleist est parcourue par une machine de guerre invoquée contre l'Etat, par une machine musicale invoquée contre la peinture ou le ›tableau‹. C'est curieux comme Goethe, et Hegel, ont la haine de cette nouvelle écriture«. 6 Several chapters later, they return to the subject, declaring »Lenz et Kleist affrontaient Goethe, génie grandiose, veritable homme d'Etat parmi tous les hommes de lettres«. 7 Finally, when discussing different types of space, they postulate »Pour le moment, il faudrait seulement dire qu'il y a deux sortes de voyage, qui se distinguent par le role respectif du point, de la ligne et de l'espace. Voyage-Goethe et voyage-Kleist?«. 8 In the above examples, "Deleuze and Guattari are clearly thinking " Are they now? One this reader assumed they were thinking of ...." such works as Wilhelms Meisters Lehrjahre and, perhaps, the Italienische Reise when they make this distinction between Kleist and Goethe. The distinction is less tenable when one considers more ›minor‹ Goethean masterpieces, such as the West-östlicher Divan and, even, Faust II. ..."
As always the critic misses the point. Its the real history which is of significance, not that Goethe wrote Divan or Faust 11. its that Kleist created another type of machine completely.


A thousand
thou_ sand


A thous_ and tiny sexes _ my queer lover ~ . we're cut into boxes, blues, bullies, territoriies. what face is this you hold, held to my visage in your hand, in your sex. what double joined one is this?



the machines


Movies, shit, poetry


the machiNes

the machines of yer face
of your ass
assophrenia
yer bod y cut across yer wild's face
this is your nasturbation|



it's the anaoedipal break & cut cupage which makes the difference/

__________________

cheap finality of tawdry remembered film ~ .



peace and potatoes

brim forth their gush ~

Mozart's desiring-machine?
'Raise your ass to your mouth... ah, my ass burns like fire, but what can be the meaning of that? Perhaps a turd wants to come out... Yes, yes, turd, I know you, I see you, I feel you.. What is this _is such a thing possible? ..." (Mozart letter.. to someone ....)





peace and potatoes
wherever
you go

11.24.2008

the four thousand bees

_________________ Mona Raconteur has four hundred fictive quantas. Her mask is demeanour face sans horrible. She thought you have a face. You dont even have. Preface, reface, faced. Outside thy white whole hothead. Yes, black hole. THy eyeBall Is Pin to Nave ~

various
mixes for Munster Marks!her wordage.

here then

O r He meant here ~
  • Maslow’s hierarchy of needs
  • “The thing I hate the most about advertising is that it attracts all the bright, creative and ambitious young people, leaving us mainly with the slow and self-obsessed to become our artists. Modern art is a disaster area. Never in the field of human history, has so much been used by so many to say so little.” Banksy on advertising
  • “These days, information technology, communications, and advertising are taking over the words ‘concept’ and ‘creative,’ and these ‘conceptualists’ constitute an arrogant breed that reveals the activity of selling to be capitalism’s supreme thought. ” Gilles Deleuze
  • commercials used in video: virgin broadband, citibank, ikea by spike jonze, coke, bmw by tony scott, dow chemicals, gucci by david lynch, apple 1984, absolut.

and say here ina discussion discourse about this that and the other This is what evolution actually strives for: actualization of creation through differentiation. In our times, Gilles Deleuze explains it beautifully as “…actualization, differentiation, are a genuine creation. The Whole must create the divergent lines according to which it is actualized and the dissimilar means that it utilizes on each line.” (Bergsonism)

Indeed dad Professor Challenger's double articulations dispersed to the four thoUsand bees.

and dear
Felix ici et d'ailleurs Old Felix's many ontologies become Four and four and primary tertiary and seconded secondary as in dairy and merry ~

alors Voila ~
Voila MonSieur Antioedipus

et d'ici at square white world... caged painting...
















- Arthur Boyd, Figure supporting back legs and Interior with black rabbit, 1973-4

the image is from Arthur Boyd’s ‘caged painter’ series, commenced in 1971 upon his return to Australia after over a decade in England. The year he left Caetano Veloso was recording his own record of exile, ‘A Little More Blue.’

Norman Manea repeats the mantra he learnt from Franz Kafka: in the confrontation between oneself and the world, take the side of the world.

Jorge Luis Borges is a poet of the pathos of time. He writes of Citizen Kane that it links the Koheleth to the memory of another nihilist, Franz Kafka. [Jorge Luis Borges, Selected Non-Fictions, ed. Eliot Weingberger, Viking, New York, 1999, p. 259]

Emptiness, emptiness, says Koheleth, emptiness, all is empty.

So I came to hate life, since everything that was done here under the sun was a trouble to me; for all is emptiness and chasing the wind.

I considered all the acts of oppression here under the sun; I saw the tears of the oppressed, and I saw that there was no one to comfort them.

Woe betide the land when a slave has become its king, and its princes feast in the morning.

Whatever has already existed has been given a name, its nature is known, a man cannot contend with what is stronger than he. The more words one uses the greater is the emptiness of it all; and where is the advantage to a man?

and the Koheleth, said to be a sage whose sayings were recorded in the second century BC and collected in Ecclesiastes, also wrote the song which goes … a time to be born and a time to die, and so on.

There is an empty thing found on earth: when the just man gets what is due to the unjust, and the unjust what is due to the just. I maintain that this too is emptiness. So I commend enjoyment, since there is nothing good for a man to do here under the sun but to eat and drink and enjoy himself; this is all that will remain with him to reward his toil throughout the span of life.

… and I bethought myself of all the fury and hatred I had to bring against the world and its illusions and because the door opened a crack I heard the engine pounding, its hammers beating. I wondered if this was the engine, the war-machine with which I was to assail the transcendental empiricism of Gilles Deleuze; albeit that its hammers were butterfly wings shamanically grafted onto it and that its beating was only theatrical: the apocalypse is achieved with a backlit gauze on a proscenium arch stage. It is sheer melodrama.

Nothing is more terrifying writes Borges than a labyrinth without a centre.

And if for every step the thread was cut?


__________________________ Square White World ~

11.22.2008

Artaud e Seu Duplo_L'Homme est Malade....

Bodies without Organs calls. and the schizophrenia pain of nightmare
what body without organs cries out in stark pain?

this body

this
visioning
of Artaud
the intense
infolding
voluting
involting
and painful
i've seen

yet the truest
of the
cry

of this

haunted
body
exploded
by grenades

How halluncinated the body
in its electric shock

in the dirty grey
cell
and
on his

sitting
on
his
ass

at

the

end ~
and the Scream ~
(the torn
love
ripped
from body
)



11.20.2008

Le Voyageur (O andarilho) - Heldon e Gilles Deleuze

Voyage
Voyageur

Nettoyage Nettoyage
voyageur
voyeur
voyant
Mister Veleuze
n'était pas un voyageur de corps

mais voyages dans le corps sans organes
est un plaisir indomintable

O Mister D_ n'était pas un grand voyageur
Mais Monsieur Celine etait un voyageur
et aussi un voyeur voyant

.

Et vous? vous est quoi?

est-ce le voyage cache les nœuds?
les nœuds des voyageurs dans la plupart des choses
c'est un formidable miracle?
ou c'est un poème.



11.16.2008

SiLEnCiO RiZOmA

the Multiplicity oftheE Burrow ragged round bevel. Jill saith to Claire Dia _Logos i n Housing of Rare turned on radio FM AM tuning one two one two 1.... 2 .... tuning fork... Mister

_______________
turn on yer radio so
you know
its got
spool
no no
you mean
Sole

No No
she mean
Soul

As in

Soul

Song


each fiction was a r a d i o

Jill looked i n
reluctant sky seeing this

and over there she heard these ringing parse pause repose

yet around the source was morphing the high ground
of consistent planes and palm s
waving from their fir forest of cloud



schizo analysis was in the balance

dancer in the pool aqua water blue waving



11.14.2008

Bloque Luca




tú me labio humedas
yo me envío y te deliranto
tú me delirantas y me apasionadas
yo te hombro y te vertebro
yo te codo
te pestaño y te pupilo...
...yo te manos
te transpiro
te lenguo
te nuco
yo te navego
yo te sombro
yo te cuerpo y te fantasmo
yo te retino en mi aliento
tu te iris a ti misma
yo te escribo
tú me piensas
Bloque de devenir/Gherasim Luca - Encarnar
image et texte via
lineas en Fuga

et
deleuzefilosofia



Passionnément




pas pas paspaspas pas
pasppas ppas pas paspas
le pas pas le faux pas le pas
paspaspas le pas le mau
le mauve le mauvais pas
paspas pas le pas le papa
le mauvais papa le mauve le pas
paspas passe paspaspasse
passe passe il passe il pas pas
il passe le pas du pas du pape
du pape sur le pape du pas du passe
passepasse passi le sur le
le pas le passi passi passi pissez sur
le pape sur papa sur le sur la sur
la pipe du papa du pape pissez en masse
passe passe passi passepassi la passe
la basse passi passepassi la
passio passiobasson le bas
le pas passion le basson et
et pas le basso do pas
paspas do passe passiopassion do
ne do ne domi ne passi ne dominez pas
ne dominez pas vos passions passives ne
ne domino vos passio vos vos
ssis vos passio ne dodo vos
vos dominos d’or
c’est domdommage do dodor
do pas pas ne domi
pas paspasse passio
vos pas ne do ne do ne dominez pas
vos passes passions vos pas vos
vos pas dévo dévorants ne do
ne dominez pas vos rats
pas vos rats
ne do dévorants ne do ne dominez pas
vos rats vos rations vos rats rations ne ne
ne dominez pas vos passions rations vos
ne dominez pas vos ne vos ne do do
minez minez vos nations mi mais do
minez ne do ne mi pas pas vos rats
vos passionnantes rations de rats de pas
pas passe passio minez pas
minez pas vos passions vos
vos rationnants ragoûts de rats dévo
dévorez-les dévo dédo do domi
dominez pas cet a cet avant-goût
de ragoût de pas de passe de
passi de pasigraphie gra phiphie
graphie phie de phie
phiphie phéna phénakiki
phénakisti coco
phénakisticope phiphie
phopho phiphie photo do do
dominez do photo mimez phiphie
photomicrographiez vos goûts
ces poux chorégraphiques phiphie
de vos dégoûts de vos dégâts pas
pas ça passio passion de ga
coco kistico ga les dégâts pas
les pas pas passiopas passion
passion passioné né né
il est né de la né
de la néga ga de la néga
de la négation passion gra cra
crachez cra crachez sur vos nations cra
de la neige il est il est né
passionné né il est né
à la nage à la rage il
est né à la né à la nécronage cra rage il
il est né de la né de la néga
néga ga cra crachez de la né
de la ga pas néga négation passion
passionné nez passionném je
je t’ai je t’aime je
je je jet je t’ai jetez
je t’aime passionném t’aime
je t’aime je je jeu passion j’aime
passioné éé ém émer
émerger aimer je je j’aime
émer émerger é é pas
passi passi éééé ém
éme émersion passion
passionné é je
je t’ai je t’aime je t’aime
passe passio ô passio
passio ô ma gr
ma gra cra crachez sur les rations
ma grande ma gra ma té
ma té ma gra
ma grande ma té
ma terrible passion passionnée
je t’ai je terri terrible passio je
je je t’aime
je t’aime je t’ai je
t’aime aime aime je t’aime
passionné é aime je
t’aime passionném
je t’aime
passionnément aimante je
t’aime je t’aime passionnément
je t’ai je t’aime passioné né
je t’aime passionné
je t’aime passionnément je t’aime
j’ai t’aime passio passionnément

hera

_____________________________________________________________________________________________________-


Heraclitus - detail from The School of Athens by Raphael, 1510


 those rivers one steps into are not the same.   other and yet other waters keep flowing on.

those rivers one steps into are not the same. other and yet other waters keep flowing on.




























24 heures Philo Regards de philosophes français et étrangers sur l'actualité.
Un blog coordonné par François Noudelmann et Eric Aeschimann.












O heraclit s was a gra nd old man

Heraclitus by Johannes Moreelse. The image depicts him as "the weeping philosopher" wringing his hands over the world and "the obscure" dressed in dark clothing, both traditional motifs.

Heraclitus-------------ca. 535 BCE-------------------475 BCE

ποταμοῖσι τοῖσιν αὐτοῖσιν ἐμϐαίνουσιν, ἕτερα καὶ ἕτερα ὕδατα ἐπιρρεῖ. Potamoisi toisin autoisin embainousin, hetera kai hetera hudata epirrei "On those stepping into rivers the same, other and other waters flow."



<
those rivers one steps into are not the same. other and yet other waters keep flowing on.
those rivers one steps into are not the same. other and yet other waters keep flowing on.

_____

"An autopoietic machine is a||||||Devenir Rimbaud


the foldi ng

and
I Raveling as Bracha might say



"An autopoietic machine is a machine organized (defined as a unity) as a network of processes of production (transformation and destruction) of components which: (i) through their interactions and transformations continuously regenerate and realize the network of processes (relations) that produced them; and (ii) constitute it (the machine) as a concrete unity in space in which they (the components) exist by specifying the topological domain of its realization as such a network." (Maturana, Varela, 1980, p. 78)
"[…] the space defined by an autopoietic system is self-contained and cannot be described by using dimensions that define another space. When we refer to our interactions with a concrete autopoietic system, however, we project this system on the space of our manipulations and make a description of this projection." (Maturana, Varela, 1980, p. 89)
&
each fiction's machine is define another fold of the space ~

here

yesssssssssssssss

Líneas en Fuga-_-----------_____________________


Líneas en Fuga-_


Devenir Rimbaud

grammar of the Multitude

Vi a Via Via th is via that

its


a Via Raile
& Rat

rant




Sylvère Lotringer on Paulo Virno's A Grammar of the Multitude

Via Vi a Via Via the net rail li ne of fl ight

Dialogi c

(This is an excerpt Sylvère Lotringer's Forward. Courtesy of Wood's Lot)

Hosted on Generation Online

A Grammar of the Multitude
For an Analysis of Contemporary Forms of Life
by Paulo Virno
Foreword by Sylvère Lotringer

Translated from the Italian
Isabella Bertoletti
James Cascaito
Andrea Casson
SEMIOTEXT(E) FOREIGN AGENTS SERIES



FOREWORD: We, the Multitude

Paolo Virno's A Grammar of the Multitude is a short book, but it casts a very long shadow. Behind it looms the entire history of the labor movement and its heretical wing, Italian "workerism" (operaismo), which rethought Marxism in light of the struggles of the 1960s and 1970s. For the most part, though, it looks forward. Abstract intelligence and immaterial signs have become the major productive force in the "post-Fordist" economy we are living in and they are deeply affecting contemporary structures and mentalities. Virno's essay examines the increased mobility and versatility of the new labor force whose work-time now virtually extends to their entire life. The "multitude" is the kind of subjective configuration that this radical change is liberating, raising the political question of what we are capable of.

Operaismo (workerism) has a paradoxical relation to traditional Marxism and to the official labor movement because it refuses to consider work as the defining factor of human life. Marxist analysis assumes that what makes work alienating is capitalist exploitation, but operaists realized that it is rather the reduction of life to work. Paradoxically, "workerists" are against work, against the socialist ethics that used to exalt its dignity. They don't want to re-appropriate work ("take over the means of production") but reduce it. Trade unions or parties are concerned about wages and working conditions. They don't fight to change the workers' lot, at best they make it more tolerable. Workerists pressed for the reduction of labor time and the transformation of production through the application of technical knowledge and socialized intelligence.

Ma
de it Ma Top of the World Cag ey as OEdIpu e x AmeriCa

Welcome to the Joys of Capitalism


Capitalism with an its in Hu mAn faCe

In the mid-30s the leftist philosopher Simone Weil experienced the appalling abjection of the assembly line first hand by enlisting in a factory. She wondered whether Lenin or Stalin could ever have set foot in a work place and celebrated workers' labor. "The problem is, therefore, quite clear," she concluded in Oppression and Liberty after renouncing Marxism and breaking up with the organized workers' movement. "It is a question of knowing whether it is possible to conceive of an organization of production" that wouldn't be "grinding down souls and bodies under oppression."1 It was too early to achieve this goal through automation and her efforts remained isolated. It finally took the Italian Operaists in the late 50s to pick up where she left off.

Ideologically, Operaism was made possible by the Russian invasion of Hungary in 1956, which revealed the true nature of bureaucratic socialism. To young Italian intellectuals on the left of the left (among them Toni Negri and Mario Tronti) it became clear that the Soviet Union wasn't the Workers' Country, but a totalitarian form of capitalism. Around that time the first large emigration of Italian workers from the impoverished South to the industrial North proved even more unsettling. Instead of submitting to the new system of mass production, young unskilled workers ("mass-workers") bypassed established trade-unions, which privileged skilled workers, and furiously resisted the Ford assembly line. The Operaist movement took off in 1961 after the first massive labor confrontation in Turin. Quaderni Rossi ("Red Notebooks"), its first publication, analyzed the impact the young mass workers had on the labor force and the new "class composition" that emerged from recent capitalist transformations. Classe Operaia ("Working Class"), published in 1964, formulated a new political strategy, the refusal of work, challenging capital to develop its productive forces with new technology. This "strategy of refusal" (a seminal essay by Mario Tronti) was applied "inside" capitalist development, but "against it." It anticipated the post-68 analysis of capital by Félix Guattari and Gilles Deleuze in Anti-Oedipus, 1972, and brought Italian social thinkers and post- Structuralist French philosophers together in the mid-70s. What mass-workers objected to most was the transfer of human knowledge to the machines, reducing life to "dead labor." There was an existential dimension there, but active and creative. Their effort to change labor conditions was unknown to classical Marxism, mostly preoccupied with mechanisms of oppression and their effect on the working class.

In Daybreak, Nietzsche summoned European workers to "declare that henceforth as a class they are a human impossibility and not just, as is customary, a harsh and purposeless establishment." And he exhorted that "impossible class" to swarm out from the European beehive, "and with this act of emigration in the grand manner protest against the machine, against capital, and against the choice with which they are now threatened, of becoming of necessity either slaves of the state or slaves of a revolutionary party..." This celebration of exile can be found in Michael Hardt and Toni Negri's Empire, a best-seller among American Marxist academics and art critics ("A specter haunts the world and it is the specter of migration...") as well as in Virno's A Grammar of the Multitude, which it complements in its own way. This call retroactively found its model in the unorthodox and mobile migrant labor force of the Wobblies (International Workers of the World) who organized immigrant workers throughout the United States in the 1920s. (Hence the paradoxical fondness of operaists for the American workers' movement and America in general). Migration as a form of resistance also recalls Marx's essay on modern colonization, laborers in Europe deserting famines or factory work for free lands in the American West.2 It took the inventiveness of Italian social thinkers to turn this cursory account of the workers' desire "to become independent landowners" into an anticipation of the postmodern multitude. While Hardt and Negri consider this kind of Exodus "a powerful form of class struggle," Virno cautions that desertion was "a transitory phase," an extended metaphor for the mobility of post-Fordist workers (European laborers worked in East Coast factories for a decade or two before moving on). A nuance, maybe, but significant. Unlike Hardt and Negri, Virno refrains from turning exile, or the multitude for that matter, let alone communism, into another splendid myth.

Autonomist theory is found in many places, including the United States, but the movement developed most powerfully in Italy where the 60s' movement extended well into the 70s. Breaking away from the orthodox and populist Marxism of Antonio Gramsci, founder of the Italian Communist Party, young Operaist intellectuals learned from the workers themselves what the reality of production was. They helped them create their organizations and confront the system of production head on through strikes and sabotage. This pragmatic and militant aspect of workerism sets Italian social thinkers apart. They opposed the hegemony of the Italian C.P. and Gramsci's strategy of small steps (the "war of position" within civil society) which led to Eurocommunism and the "historic compromise" with the governing Christian-Democrats (conservatives). Operaists were the first to question the centrality of the proletariat, cornerstone of the entire socialist tradition, and call for a reevaluation of the categories of class analysis. The notion of "changing class composition" introduced by Sergio Bologna allowed them to re-center the revolutionary struggle on the "new social subject" just emerging at the time both from the factory and the university.

To Read the Rest of Lotringer's Forward and Virno's A Grammar of the Multitude

-------------------- the ZoZoroastrianism people & Doctor Deleuze

7 november 2008

via

from Alexa der Bar d ~ 'Philosopher, Author, Artist, Lecturer'



For those who are interested in understanding Nietzsche, the best book on Nietzsche I ever read is Gilles Deleuze book on Nietzsche (google Deleuze and Nietzsche together, and you will find the book at amazon.com). Not only is the book an excellent introduction to Nietzsche, but also to Deleuze´s own 20th century philosophy. Two great thinkers in one and the same book! Deleuze has also wirtten two brilliant introductions to Spinoza for those who are interested. And there together we have the three western thinkers who are most closely related to Zarathushtra's thinking - Spinoza, Nietzsche and Deleuze, and in that order - as Arthur Pearlstein and I have repeatedly pointed out here before.
Ushta
Alexander



Deleuze on the Palestinians|Bourdieu|Merleau-Ponty


-------------- Dele uze Bou rdieu Merlea uPo nty on the Palestin ian Con flict

--------------------
Gilles Deleuze:


The following text originally appeared in Le Monde, April 7, 1978, and is reprinted in Two Regimes of Madness (Semiotexte, 2006)



How could the Palestinians be "genuine partners" in peace talks when they have no country? But how could they have a country when it was taken from them? The Palestinians were never given any choice other than unconditional surrender. All they were offered was death. In the Israeli-Palestinian conflict, the actions of the Israelis are considered legitimate retaliation (even if their attacks do seem disproportionate), whereas the actions of the Palestinians are without fail treated as terrorist crimes. And the death of a Palestinian has neither the same interest nor the same impact as the death of an Israeli.

Since 1969, Israel has unrelentingly bombed and strafed Southern Lebanon. Israel has explicitly said that its recent invasion of Lebanon was not in retaliation for the terrorist attack on Tel-Aviv (eleven terrorists against thirty thousand soldiers); on the contrary, it represents the culmination of a plan, one in a whole series of operations to be initiated at Israel’s discretion. For a "final solution" to the Palestinian question, Israel can count on the almost unanimous complicity of other States (with various nuances and restrictions). A people without land, and without a State, the Palestinians are the spoilers of peace for everyone involved. If they have received economic and military aid from certain countries, it has been in vain. The Palestinians know what they are talking about when they say they are alone.

Palestinian militants are also saying that they have managed to pull off a kind of victory. Left behind in Southern Lebanon were only resistance groups, which seem to have held up quite well under attack. The Israeli invasion, on the other hand, struck blindly at Palestinian refugees and Lebanese farmers, a poor population that lives off the land. Destruction of villages and cities, and the massacre of innocent civilians have been confirmed. Several sources indicate that cluster bombs were used. This population of Southern Lebanon, in perpetual exile, keeps leaving and coming back under Israeli military strikes that one is hard-pressed to distinguish from acts of terrorism. The latest hostilities have ousted more than 200,000 from their homes, now refugees wandering the roads. The State of Israel is using in southern Lebanon the method which proved so effective in Galilee and elsewhere in 1948: it is "Palestinizing" Southern Lebanon.

Palestinian militants for the most part come from this population of refugees. Israel thinks it will defeat the militants by creating more refugees, thereby surely creating more terrorists.

It is not merely because we have a relationship with Lebanon that we say: Israel is massacring a fragile and complex country. There is something else. The Israeli-Palestinian conflict is a model that will determine how problems of terrorism will be dealt with elsewhere, even in Europe. The worldwide cooperation of States, and the worldwide organization of police and criminal proceedings, will necessarily lead to a classification extending to more and more people who will be considered virtual "terrorists." This situation is analogous to the Spanish Civil War, when Spain served as an experimental laboratory for a far more terrible future.

Today Israel is conducting an experiment. It has invented a model of repression that, once adapted, will profit other countries. There is great continuity in Israeli politics. Israel believes that the U.N. resolutions verbally condemning Israel in fact put it in the right. Israel has transformed the invitation to leave the occupied territories into the right to establish colonies there. It thinks sending an international peace-keeping force into Southern Lebanon is an excellent idea… provided that this force, in the place of Israeli forces, transforms the region into a police zone, a desert of security. This conflict is a curious kind of blackmail, from which the whole world will never escape unless we lobby for the Palestinians to be recognized for what they are: "genuine partners" in peace talks. They are indeed at war, in a war they did not choose.


In an interview with the Revue d'etudes palestiniennes in 2000, the late Pierre Bourdieu said: "I have always hesitated to take public positions...because I did not feel sufficiently competent to offer real clarifications about, what is undoubtedly, the most difficult and most tragic question of our times (how to choose between the victims of racist violence par excellence and the victims of these victims?).
Subject: The Grandeur of Yasser Arafat

Gilles Deleuze



Tranlated by Timothy Murphy

Originally published in Revue d'etudes palestiniennes,
September 1983.
This trans. from Discourse Fall 1998.

The Palestinian cause is first and foremost the set of injustices that these people have suffered and continue to suffer. These injustices are acts of violence, but also illogicalities, false reasonings, false guarantees that claim to compensate or vindicate them. Arafat needed only one word to describe the broken promises, the violated agreements, at the moment of the Sabra and Shatila massacres: shame, shame (italics in the original).<1>

It`s said that this is not a genocide. And yet it's a story that consists of many Oradours, from the very beginning.2<2> Zionist terrorism was practiced not solely against the English, but on the Arab village which had to disappear;Irgoun was very active in this respect (Deir Yasin).<3> From beginning to end, it involved acting as if the Palestinian people not only must not exist, but had never existed.

The conquerors were those who had themselves suffered the greatest genocide in history. Of this genocide the Zionists have made an absolute evil (italics in original). But transforming the greatest genocide in history into an absolute evil is a religious and mystical vision, not a historical vision. It doesn't stop the evil; on the contrary, it spreads the evil, makes it fall once again on other innocents, demands reparation that makes these others suffer part of what the Jews suffered (expulsion, restriction to ghettos, disappearance as a people). With "colder" means than genocide, one ends up with the same result.

The United States and Europe owed reparation to the Jews. And they made a people, about whom the least that could be said is that they had no hand in adn were singularly innocent of any holocaust and hadn't even heard of it, pay this reparation. It's there that the grotesque begins, as well as the violence. Zionism, then the state of Israel will demand that the Palestinians recognize its right(droit).(italics and French in the trans.) But the state of Israel will never stop denying the very fact of a Palestinian people. They will never speak of Palestinians but of the Arabs of Palestine, as if they found themselves there by chance or in error. And later, they will act as if the expelled Palestinians came from outside, they will speak of the first war of resitance that the Palestinians led all
alone. Since they haven't recognized Israel's right, they will be made into descendants of Hitler. But Israel reserves the right to deny their existence in fact. Here begins a fiction that had to stretch further and further, and to weigh on all those who defended the Palestinian cause. This fiction, this wager of Israel's, was to make all those who would contest the de facto conditions and actions of the Zionist state appear as anti-Semites. This operation finds its source in Israel's cold politics with respect to the Palestinians.

From the start, Israel has never concealed its goal:to empty the Palestinian territory. And better, to act as if the Palestinian territory were empty, always destined for the Zionists. It was clearly a matter of colonization, but not in the nine-teenth-century European sense: the local inhabitants would not be exploited, they would be made to leave. Those who remained would be made, not into a dependent territorial workforce, but rather into a mobile and deteched workforce, as if they were immigrants placed into a ghetto. From the start, lands bought on the condition that they be empty of occupants, or can be emptied. It's a genocide, but one in
which physical extermination remains subordinated to geographical evacuation:being only Arabs in general, the surviving Palestinians must go merge with other Arabs. Physical extermination , though it may or may not be entrusted to mercenaries, is most certainly present. But this isn't a genocide, they say, since it's not the "final goal"; in reality, it's just one means among others.

The complicity of the United States with Israel does not arise soley from the Zionist lobby. Elias Sanbar ( Revue D'Etudes palestiniennes) has shown clearly how the United States rediscovered in Israel an aspect of its own history:the extermination of the Indians which, there as well, was only in part physical. It was a matter of emptying, as if there had never been an Indian except in the ghettos which were made for them as immigrants from inside. In many respects, the Palestinians are the new Indians, the Indians of Israel. Marxist analysis reveals the two complementary movements of capitalism:constantly to impose limits, which it develops and exploits its own system; and always pushes these limits farther back, to exceed them in order to begin its own foundation once again on a larger and more intense scale. Pushing back limits was the act of American capitalism, the American
dream, taken up by Israel and the dream of Greater Israel on Arab territory, on the backs of the Arabs.

How the Palestinian people learned to resist and are resisting; how a people of ancient lineage became an armed nation; how they gave themselves a body which simply represent them but embodied them, outside their territory and without a state:all these events demanded a greater historical character, one who, we might say from a Western point of view, could have stepped out of Shakespeare, and that was Arafat. It wasn't the first time in history that something like this had happened (the French can think of Free France,except for the fact that it had a smaller popular base at the beginning). And all the occasions on which a solution or element of solution was possible, occasions that the Israelis have deliberately , knowingly
destroyed, are not happening for the first time in history either. The Israelis held onto their religious position of denying not only the Palestinian right but also the Palestinian fact. They cleansed themselves of their own terrorism by treating the Palestinians as terrorists from outside. And precisely because the Palestinians were not that, but rather were a specific people as different from other Arabs as Europeans can be among themselves, they could expect only ambiguous aid from the Arab states themselves, aid which sometime turned back into hostility and extermination when the Palestinian model became dangerous for them. The Palestinians have run through all the infernal cycles of history: the failure of solutions each they were possible, the worst reversals of alliance of which they bore they brunt, the most solemn promises not kept. And on all this their resistance had to nourish itself.

It may well be that one of the goals of the Sabra and Shatila massacres was to discredit Arafat. He only consented to the departure of the combatants, the force of which remained intact, on condition that the security of their families be absolutely guaranteed by the United States and even by Israel. After the massacres had had no other word than "shame." If the ensuing crisis for the PLO resulted, in more or less the long term, either in an integration into an Arab state or a dissolution into Muslim fundamentalism, then it could be said that the Palestinian people had effectively disappeared. But this would be in such conditions that the
world, the United States and even Israel would not finish regretting the lost occasions, including those that still remain today. To Israel's most arrogant formula, "We are not a people like others," the Palestinians have not stopped responding with the cry that was invoked in the first issue of the Revue d'etudes palestiniennes: "We are people like others, we only want to be that...."

By leading the terrorist war in Lebanon, Israel believed it could be suppress the PLO and deprive it of the support of the Palestinian people, already deprived of their land. And perhaps's its succeeding, since in surrounded Tripoli there is nothing more than the physical presence of Arafat among his own, all in a sort of solitary grandeur.

But the Palestinian people will not lose their identity without creating in its place a double terrorism, of the state and of religion, which will profit from its disappearance and render impossible any peaceful settlement with Israel. From the war in Lebanon Israel will not escape merely morally divided and economically disorganized, it will find itself faced with the mirror of its own intolerance. A political solution, a peaceful settlement is possible with an independent PLO which will not have disappeared into an already existing state and will not be lost among the diverse Islamic movements. The disappearance of the PLO would only be a victory for the blind forces of war, indifferent to the survival of the Palestinian people.

Gilles Deleuze


translated by Timothy Murphy

Originally published in Revue d'etudes palestiniennes,
September 1983.
This trans. from Discourse Fall 1998.


Notes
1. Sabra and Shatila massacres:1982 massacres of Palestinians at refugee camps in Lebanon, carried by Lebanese Phalangist aided by the Israeli army.
2 Oradour french village destroye by Nazi occupation troops in retaliation for Resistance activity shorty after the start of the D-Day invasion.
3. Irgoun:right wing Zionist organization that used terrorist tacts against British force and others in postwar Palestine.

Diana H. Coole, Merleau-Ponty and Modern Politics After Anti-Humanism. p. 51.
The purpose of questioning such presuppositions was to challenge liberal hypocrisy. In the then-current context this meant bu "not ceasing to explicate the liberal mystification wherever it arises-in Palestine, in Indochina, or even in France." Inasmuch as humanist values were universally applauded, they must speak in the name of a practical freedom applicable to all, the Vietnamese or Palestinian as much as the Western individual. "We must remember that liberty becomes a false ensign...as soon as it becomes only an idea and we begin to defend liberty instead of free men" (HT xxiii-xxiv).

LES VENDREDIS DE LA PHILOSOPHIE

Ecoutez

Podcast

émission du vendredi 14 novembre 2008
Les correspondances de Nietzsche
Par François Noudelmann
Réalisation: Olivier Bétard

La biographie et la correspondance des philosophes nous apporte souvent des anecdotes plaisantes mais avec Nietzsche, elle éclaire un parcours philosophique. Loin de séparer la vie et l'œuvre, Nietzsche a stigmatisé les comportements des grands penseurs et il a souvent dénoncé dans leur quête d'abstraction une incapacité à aimer la vraie vie. C'est pourquoi l'existence de Nietzsche lui-même a pris une valeur singulière. Elle se découvre dans ses nombreuses lettres qui expriment autant ses exaltations que ses déchirements. L'homme qui pensait en marchant gravissait des chemins escarpés. Ses amis étaient les témoins de ses ruptures dramatiques avec l'Allemagne et avec Wagner qui l'avait pourtant fasciné. La correspondance de Nietzsche permet ainsi de suivre les traces d'un penseur d'exception toujours en avance sur lui-même.



via via radio france culture ~

C as i C ul t u r e

"oui, pourquoi pas?"

I don't believe in culture, to some extent, but rather I believe in encounters. But these encounters don't occur with people. People always think that it's with people that encounters occur, which is why it's awful... Now, in this, that belongs to the domain of culture, intellectuals meeting one another, this disgusting practice of conferences, this infamy. So encounters, it's not between people that they happen, but with things... So I encounter a... painting, yes, or a piece of music, that's how I understand an encounter. When people want to connect encounters to themselves, with people, well, that doesn't work at all... That's not an encounter, and that's why encounters with people are so utterly, utterly disappointing. Encounters with people are always catastrophic.

(Gilles Deleuze interviewed by Claire Parnet, 1988)
He insists that whenever one does something, it is also a question of moving on from it, getting out of or beyond it (d'en sortir). When one does philosophy, for instance, remaining "in" philosophy is also to get out of philosophy.

C is for culture/ culture-as-encounter

11.13.2008

richard pin has

Richard Pinhas,___& Heldon, , performs in the usa ...... Jérôme Schmidt provides the computer augmentation.

this excerpt
is from a
member of the
a udi e n c e
at he
performan ce
a year a go
in the usA



Richard Pinhas was frien d & st ude nt
of Doctor D e leuze

he along with Claire Par net

are respon sible
for getting much of deleu ze 's
a udio and video lect u res
ou t & ab ou t

he main tais
the

web dele u ze site

his own
site
is

here

&
i n
Paris
yesterday
-----------------------

Richard PINHAS & MERZBOW


12 November 2008 : Paris (France), Instants Chavirés, Merzbow & Richard Pinhas + DJ K.OZ

A l'occasion de la sortie de leur premier album en duo (double CD sur Cuneiform Records, triple LP sur le label anglais Dirter Promotions), Richard Pinhas et Masami Akita, alias Merzbow, se retrouvent à Paris pour un concert exceptionnel. Cette collaboration permet de réunir deux figures cultes des scènes expérimentales de ces trente (et quelques) dernières années : Pinhas, comme leader du mythique Heldon, a été dès le début des années 1970 non seulement un pionnier des musiques rock et synthétiques, mais aussi de l'autoproduction musicale en France, avec son label Disjuncta, et compagnon de route de Gilles Deleuze ; Merzbow est quant à lui largement considéré comme un des membres les plus éminents du courant "Japanoise" et détient le titre peu contesté de "King of Noise". Une rencontre au sommet !"



Quel Joie pour ceux a Paris!











Où est le voyage dans les livres ? le voYa geuR

Est-ce qu’on voyage toujours pour revenir un jour ?






"Le Voyageur" - Heldon (R.Pinhas/Nietzsche) Dit par Deleuze




O la web La web la web des choses
et des chassures



Deleuze n’aime pas porter les bagages


Deleuze n’aime pas voyager, il préfère écrire des livres sur le voyage. (Manon)

Pour Deleuze, le voyage rime avec « ça me casse les pieds ! » (Maud)

Pour lui, il n’y a pas d’intérêt à voyager. (Stella)

Pour Deleuze, le voyage ce n’est pas le tourisme. (Antoine)

Il déteste surtout les conditions du voyage, c’est-à-dire il n’aime pas porter les bagages, le temps de la route, l’autre langue dans le pays. (Sébastian)

Le voyage intellectuel c’est un voyage pour le travail, tu ne te reposes pas. (Émil)

Il dit que cela ne sert à rien d’aller au bout du monde pour parler, pour faire des conférences. Cela, il pourrait le faire chez lui. (Esther)

C’est comme l’hôtesse de l’air, elle ne fait que des allers-retours. Mais quand elle peut un peu visiter, là elle voyage. (Namira)

Deleuze est obligé de voyager s’il veut devenir connu parce que s’il ne passe qu’à la télé, on peut l’éteindre. (Costa)

Deleuze n’a pas envie de rencontrer d’autres personnes. Voyager, c’est rencontrer d’autres personnes et je crois que ça l’ennuie. (Kévin)

Il pense que les écrivains ont tort de vouloir voyager pour écrire. (Émil)

Désaccord avec Deleuze

« Le voyage, c’est de la rupture à bon marché. » Gilles Deleuze Une rupture, c’est couper les liens. (Marouane)

Voyager, c’est quand même une rupture. On coupe les liens avec son monde, on va là où on n’a pas l’habitude de vivre, on ne va pas forcément aimer cet endroit. (Costa)

Quand je reviens de Chine, c’est comme si le monde avait changé. (Yannick)

Il y a aussi des ruptures avec l’amitié, on quitte des amis, des vieilles personnes que l’on connaît peuvent mourir alors qu’on est en voyage. (Sébastian)

Quand on voyage, on peut connaître la mort. (Yannick)

On pense souvent que voyager, c’est l’occasion de faire un nouveau départ. (Antoine)

Deleuze dit que voyager, c’est chercher un père. Cela veut dire que l’on recherche l’âme sœur, on cherche un sentiment que l’on n’a pas déjà chez nous. (Manon)

Est ce que le trajet du retour est le même que celui de l’aller ?