Collège international de philosophie

Séminaire
Un matérialisme de la rencontre en questions


La pensée française du vivant au dix-huitième siècle est assaillie par le difforme et les monstres. Dans cette autre philosophie naturelle sans norme ni fin, qui refuse l'antagonisme entre mécanismes et vitalismes, le contenu le plus approché que l'on pourrait donner à l'idée de matière serait celui d'un équilibre métastable, né d'une mémoire élémentaire des particules ou " molécules ", disséminant des structures affinitaires dont les rencontres forment des unités aléatoires, relatives et provisoires. Si l'interrogation philosophique sur le statut du monstre est son point d'appui, elle s'étend à d'autres paradigmes, du biologique au politique. Lors des séminaires des années précédentes, nous avons tenté d'en explorer quelques aspects, en particulier dans l'œuvre de Diderot. Quelle conscience philosophique ne manifesterait pas sa stupéfaction face à l'alternative ainsi imposée : du côté de l'ontologie de la substance, plus il y a de permanence et de forme, plus il y a de savoir et de sens ; du côté d'une phénoménologie de l'événement, plus il y a d'accidentalité et de force, plus on risque la perte du savoir et du sens ? La force de l'événement, du singulier, du divers, n'est-elle pas l'idée d'un pouvoir qui s'exprime au travers d'un déficit de forme ? Un rendez-vous manqué et néanmoins saisissant, autour d'une commune métaphore, celle du jeu de dés, rendez-vous manqué entre les penseurs du vivant au temps des Lumières et les textes qu'Althusser écrivit autour des années 1980 nous incite à réfléchir à nouveaux frais à la signification du rôle du matérialisme dans cette problématique. La liste déconcertante que propose Althusser, réunissant à ses yeux les tenants du courant souterrain de la rencontre, peut-elle être, au moins partiellement, éclaircie ? Faut-il voir dans le " rien " althussérien l'écho du " rien " diderotien, l'un et l'autre régis par un seul transcendantal : la métamorphose ?

Un séminaire donné par Annie Ibrahim.

a tongue of debouchement and river

My imagination grows when I read Vico as it doesn't when I read Freud or Jung. - Joyce

'Are you yung and easily freudened?'

'What clashes here of wills gen wonts, oystrygods gaggin fishy- gods! Brékkek Kékkek Kékkek Kékkek! Kóax Kóax Kóax! Ualu Ualu Ualu! Quaouauh!'

p4 Finnegans Wake

Finnegans Wake
the title is in the plural non
possessive
the collective
dispossessed

the multi
clables
as Joyce
puts it

as th mouths

of many rivers meet so do their hundreds of names. the great comedy unfolds. loads and loafs of becoming. becoming this and that and everthingelse inbirtween. mister inburrtweens. ShemShaun and the 'whole blodyn whorld.'
-----------------------------------------------------------------

a writer's life is a map of a world thus:

a writer 's life becomes a teaching: a form telling us about a milieu that otherwise would not perhaps be seen, and discussed in the same manner:

Rossanda was born in Pula (or, in Italian, Pola), on the Istrian peninsula,
where Joyce taught for a number of months before settling in nearby
Trieste. In her memoir, she observes that the authorities do not know
whether to write ‘Pola, Italia’ or ‘Pola, Croazia’ on her passport: they
cannot establish her nationality. Bettiza compares his own complex
family history to Rossanda’s:
It struck me that Rossanda’s Istrian father spoke Italian, German, and Serbo-
Croat like my Dalmatian father; that both took their degrees in Vienna; that
both had been irredentists; that both had served during the First World War in
the Austro-Hungarian army, trying not to shoot Italians.


_____________ So the map reconstituted om the basis of his wanderings
and works as in Ulysses shows what we had not seen previously.

So we are differences . Humped and gettwogethered in. Love's sweep ouldsang. Sung the ripe of Gully 30th.


______________________ Ah, the ghaship of agrape riders liphe ~

According to Richard Ellmann's biography James Joyce (rev.1982), Pola was 'a queer old place' to Nora, 'a back-of-God-speed place,' in fact, 'a naval Siberia' to Joyce (186).

I doan like pictures as this. they give mea chill so I woanshow id. goseegforyerselve.

Bronze statue of James Joyce in Pola executed by Mate Čvrljak, a Croatian sculptor from Labin (Albona).

Whyee doanyaligebictchers?Mister D?
I donne hear them.


MATE ČVRLJAK and BRANISLAV BIMBAŠIĆ
Model, Artist and Maecenas
(talk about Joyce’s statue in Pula)
the link to this talk appears to have vanished into the thin air of internet ~
_________________________________________________________________
the photo is from
Istrianet.org which has a page dedicated to the time JJ spent in Istria in the old Austro Hungarian Empire. Joyce moved from city to city for a number of years, spinning his yarn.


__________________

Vico Vico Vico

Mister Vico your round again. Round again in y our fishy gawds and bicycle bawds. the merrycomesome crew. its few and blue ~

riverrun, past Eve and Adam's, from swerve of shore to bend
of bay, brings us by a commodius vicus of recirculation back to
Howth Castle and Environs.

FW 3

echoland

So This Is Dyoublong?
Hush! Caution ! Echoland !
How charmingly exquisite!

Somewhere, parently, in the ginnandgo gap between antedilu-
vious and annadominant the copyist must have fled with his
scroll. The billy flood rose or an elk charged him or the sultrup
worldwright from the excelsissimost empyrean (bolt, in sum)
earthspake or the Dannamen gallous banged pan the bliddy du-
ran. A scribicide then and there is led off under old's code with
some fine covered by six marks or ninepins in metalmen for the
sake of his labour's dross while it will be only now and again in
our rear of o'er era, as an upshoot of military and civil engage-
ments, that a gynecure was let on to the scuffold for taking that
same fine sum covertly by meddlement with the drawers of his
neighbour's safe.


________________

FW bk 1 p 13

&
book 1 p 14

and if poets are beggars and laggard ...... and

Alaska and others read Plato and Socrates the dealer. Dealer of word and memory. Aristotle lingering in the hover ground ____________________"then, I said, my dear friend, let none of the poets tell us that"

When I hear the word god, reactions to up down shiver around: one I think of VIco Giambattista

"...The gods, taking the disguise of strangers from other lands, walk up and down cities in all sorts of forms ; [And Satan answered , and said, From going to and fro in the earth, and from walking up and down in it] [Satan is the great deterritorialized force of the Judeo-Christian Logos)

.and let no one slander Proteus and Thetis, neither let any one, either in tragedy or in any other kind of poetry, introduce


Here disguised in the likeness of a priestess asking an alms
(Mona the beggar scrounging malts meals and spare change)

Those, I said, which are narrated by Homer and Hesiod, and the rest of the poets, who have ever been the great story-tellers of mankind.

But which stories do you mean, he said; and what fault do you find with them?





( and who is reading who
Platon dictated to by Socrates?


A fault which is most serious, I said; the fault of telling a lie, and, what is more, a bad lie.

Socrates Plato thinks us poets are liars
yet he just said Hesiod and Homer and the rest of the poets...."are the "great" story tellers
of mankind
Hmmm of interesting to moi
Professor Socrates
was that as a child I was told
again and again
Stop making up stories....


_______________________________

____________ if there are no gods? no poem?
g__ds that dont care. Care not. No placating the non-
exiting Ones ~ they are vanishe'd ~

'But what if there are no gods? or, suppose them to have no care of human things --why in either case should we mind about concealment?

And even if there are gods, and they do care about us, yet we know of them only from tradition and the genealogies of the poets;

( What poet lies dear Platon? Does a poet lye to eat
he shall for his bacon her daily bread)
(Alie alie alay alay a lyre)




and these are the very persons who say that they may be influenced and turned by 'sacrifices and soothing entreaties and by offerings.'


Sacrifice and lie. Torment of the doomed. The poet carries
a lyre. Home is alyre. Orpheus tell tale. Tell me no Tale.
A curtail sonnet. A curtaled sonnet _ a bonnet . We are
far from the old greek(s). We are atheist ? of joy?

Let us be consistent then, and believe both or neither.


If the poets speak truly, why then we had better be unjust, and offer of the fruits of injustice; for if we are just, although we may escape the vengeance of heaven, we shall lose the gains of injustice; but, if we are unjust, we shall keep the gains, and by our sinning and praying, and praying and sinning, the gods will be propitiated, and we shall not be punished. 'But there is a world below in which either we or our posterity will suffer for our unjust deeds.'

O kinema of justice and veil of dark eyes the goddess hangs out
a sack of pain in her ppapapapapotoatoebag. Meal for the god
and scarred by gods whose hunger.


Vengeance is Mine says the Lord! Revenge is the last
bridge the overman must cross says Zarathustra ~ .

Leaping man over his ugly self.

Interludic

Mona cant help recalling her daisy delour
parlay of this obverse machine ~


"Can Mona find the reply in her flipping Plato pages? Does it take paging the old philoking himself door to door with Socrates knocking to acquire the Delphic retort? Come away come away you harbingers of sight and harbour . this wardour avenue atmosphere is no guardian of the truth.

Where is Socrate's wife? Doe she stew the dialectic behind his back? it's that postcard thing cooking up at the pharmacy's the problem. Well, blow me over, you ancient castle. I aint got no card to cook your goose. We're hell bent on makingthe Same no matter what we try of goose and gander. But a willow's not a window no matter how you shake it."

Yes, my friend, will be the reflection, but there are mysteries and atoning deities, and these have great power.

That is what mighty cities declare; and the children of the gods, who were their poets and prophets, bear a like testimony.

______________________________

O yer mister republic
public
public
Socrat
Socrat
Socrates
Socratease
Socratease
Socratezzzzzzzzzzzzzzzzzzzzzzzzee

And Platon is a fine writer of odes and tale. And his concepts are riddled wth love thought
and he was
the Man
with
scroll
scrib
in hand
his native
suit
a

lyre pushing all
and His Aristole was
very
backseated
to his
loves
and
raving juice
And he
said

If it were not for the beauty of the youth
of Athens
I would not
have
written
my philosophy ~

So

Nietzsche tells us ~

And you are plato a~ristotle nietzsche sometimes homer the run and the antediluvian Vesuvian god ~ belching his volcanic smoke ashes ~

mister metanoi and her Caerus

The change of heart
the moment to act
to leap up move forward

one has to









______________ Underfoot the crushed chance _ Not so the heart stirred moving out ~

(Hurried as Hermes)
(the busy bird messenger man_ crook'd as any forger a
bucky stellar burglar)

this god leaves as he arrive faster than 20 c. dromos ~_____________________|________________ One Lock of hair. One chance. to become many of fortitude and glancing selves. the near moment, its poetry of near send . mouth.

Carpe diem ~

"Thou strong seducer, opportunity!"

One asks is this the hour of opportunity its dear daring change of forth? One has the metanoia the heart fibrilattes gathers its geese. Unlyrical as any unheimlich. One puts the voices aside. the horn blow. or it blow triton neptune love on the axes of shift.



_____________________ So like Crooked Hermes and his thieving quarters. this essence god was becoming its flittery instant in nanoseconding of protracted betrayal as god to thief faster as it go. and the fleet foot of the measure as
the poet
speaks her rhyme box
that rhythm thing
preceding all
being bearing in its becoming
tonnage of creation
the unexpected

as it soar
must
see
the one

strand of hair
hangs over the eye

"creeping down over the eyebrows"

O how it creeps a long
sweep curtaling the window
self
over the brow
and hair
its love

like this
thing
evaded the church
crept round the backyard

hopped to the bird eye view of its distant
wing

But she's gone _ is it Lady luck then her head bald like the boy child Caerus?

o the kick back of the machine. wears its darning hard. socks to wear aplenty.
its gather in its lust. O the head one locked hair worn over the eye
Act! Act! Basta! Basta! ______αρκετά________ Swoosh of the hawk chance
son of a god you say? son of an odd bastard god playing his roulette
wheel chance with the free_willers the choicers the bangs hanging down
over their eyes. What whores are these?

O he has that dewy look his forehead's glistening with the rink of it
the breath of the panting yes, chance , squall call the native
son's blush the ring around the sun's zoom ~
αρκετά

The hard face its gone the softness melted barely gave your way
chance's glance its hot promise lifted O my sons
where your god has stood there's now a providence its tawdry
make up to the crucified One ~

Mister Nazarene buttocks herself and Magda. Think of her.
Her hair down by her knees. lover to his feet. these swollen
solemn feet measured the crime of love

think of those god becomings their harsh institutions constitution
hacking the world plate of its chaired chaos disaster shape

scream in the gold the bronze god faced hard's passed his way
you'r e left holding the bag a zoo creature in the misty ways
hung down by the islands and their passing a

Is it a cleft hook'
dea r Caerus
?







_______________________________________________________________________

seducedr quote from (John Dryden, 1631-1700, The Conquest of Granada pt. i, IV. iii).

Question when does opportunity become aleatory? does its chance precede the random?

_________________________________________________________

okay

___________________ the stones cover it ~


okay the poet does not write discourse ~ (not directly she goes around the backbending ) round and round the precourse the heft still pave ~ the wrong mouth method the tunnel reading leading its film second . its scene but opens the highlight of the eye, the film-scene ~

turf ~

so then the dianoia of the poetry is the elusive grasp of its poetry's prose ~

metanoia

Firs... you have metanoia and dianoia and paranoia , and boy did she annoy ya ~ O eye thru
the doctor skull the fine hair cutting ~ sheave of it ~ her braces gulfed guilded Doctor Badass her immanent thrills ~

first
you take
off
your
body

then
remove
the plate
holding
it

two gether

its easier
afte r that

les rapports

The passage from one flow to anothe

hen we speak of flows, it’s not to replace on

subject is not someone who is facing the flow GD: No. We know too well that a public sexuality, a commune sings the sun. repertitioning her petition. Beseech the beech. What fleece tears the coat she bear. She bear grizzly temporary maids huffed by cunning stowaways round her port. Not starboard to her thinged tip. Repeat. Repeat. Repear, shaving around the apple peel.

saying that it is the water that lacks the animal
GD: In a room where people are taking d

FG: It is all the same an incxample of the breast, or te lack of the dear Lord, and
RB: So you don’t thinsonally, I don’t like the term “secret” very much, and Gilles likesmediately taken up into a machine where no matter what he says is stifled in advance. It's chattering [mouline] in such a system that he is screwed in advance. You can speak, my boy, inIn the white tower she's held hang with king and sipping prince her piemory-screens.

GD: It's completely: Exactly. GD: No, not just anybody. But everybody. FG: Group-subjects GD: In

take the

______________Take the back

the back
a painting by Renoir

take this back
which is half back

and half woman

(cut the picture down
the line of the middle _her body escapes)

(or the face moves off) (the midriff calibrates)


her back is not that of the hypererotic libidinous ones of other painters _ I dont name them they're well known. I'm a savage who names nothing... whose death escapes my grasp. but the back curved as the swan song of Venus Aprodite herself an essence a pure rear ward glance from the sea. this is not death-_ but life's ripe full her on the age. Oh yes, he sweated for that back all her life. her slurp was sweet on the pulp of lovesuck

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

the music in a bene film
its nota renoir
its a deathroir. ..how to say. positive . alway. never to the negative. when doe sthes sentimental start? how doe s it curtail the eyes? the dark eyes of the second act bode insanity and utter madness.

listening to- CARMELO BENE Sublime 1

____________pire

writing is always an effort. to the body. stretched. screamed. by the knight's whose plaidoyer is death.

what death?
You ask what death speaking to your self the night cowboys.
Once joy is a thrill it's killed.

__________________________________
pirates, brigands, James Joyce
the night is a song to your thighs between your
legs

sweet taste of
songs have brought me

e verywhere

___________________
division of self and lover.
fraction:substraction:mulitiplication:
harrowing.
_____________________________________

"sweet"

how can sweet be sweet ?

if you've not tasted it?

how can air be air
if it's earth?
____________

is cold cold
when it's not there
________________________

when is a word a word and not a language?

___________________

taste thighs never cooked by lips burning?

when shell is fish and fish is oak
oak's a brush in the carrying fright

language burns its needle off
.
the ground is termite bending all to its will.

you bust and desire.

its the brokenness which counting over cities and plains
re_invents death not breath soothing ? your heart?

your heart's a busted geyser.

how to make the verse cuss the wind.
_________________

the nuns camp on the amp. the duet. did not capture the cut roses. they were bossed.
as in metal. or lord of the 'high' rings. what ring? ask 'millionaire'welfare author she knows best was gussy to the kiddies.

Mister Fottter. was inside the gyspy wreath. gas to his geyser.
scamper? was a dead verb. kepi to its harmony fate.

scamp you bloody scamp!
i LL whip yer arse!
Two potoates.
made a muss.
Captain Jillwas Mona to her Jenny.
_______________

Virtual/actual/Possible

I Sing the body electric >_that's Walt Whitman>>>

and about desire __

"lack and desire: In a tradition that reaches from Plato to Lacan and beyond, desire has been understood as negative, abyssal, a lack at the level of ontology itself (this was most clearly articulated in Hegel's understanding of the lack [of the object] of desire being the necessary condition for the maintenance of desire), a lack in being that strives to be filled through the (impossible) attainment of an object. Lacan calls this lack un manque-à-être a "want-to-be" (or a wannabe ?) For Georg Simmel, "the possibility of desire is the possibility of objects of desire." (The Philosophy of Money, p. 66) For Simmel enjoyment is a unity similar to the state prior to the differentiation of subject and object. With the observation that "our mind has a remarkable ability to think of contents as being independent of the act of thinking, he observes that "In desiring what we do not yet own or enjoy, we place the content of our desire outselves....We desire objects only if they are not immediately given to us for our use and enjoyment; that is, to the extent that they resist our desire." Value is characterized by this separation, which takes the form of a claim or demand. The purpose of establishing a distance is that it should be overcome. Withdrawal and approach are the two sides of our relationship to objects, which we call subjectively our desire and objectively their value. For Simmel, aesthetic value is the most complete projection of our feelings. "The content of the feeling is, as it were, absorbed by the object and confronts the subject as something which has autonomous significance, which is inherent in the object." (p.73)

can you dig it?
a subject object

a face state
a trans-versal

where the versal
is the versicle of yer body
smile
slidin'
over

fire sheet
like an ol
den
day
epic
simile
a
thing to
wear
Hadam
&
Heve
big bellied
in the mustard sun
corn stalks
blasted by midafternoon wind
bulky blustery wind


that blows
until his Cheeks Puff Out
all the sky
long

gone

&



more

how ....

how ...
many ... times .... the type... set .... battery ... cluded. it was luding round.... her fire multiplied by tripping .... did it... this was... round-eyed doe was yclept her song.... not sin's daughter. but her.... mobster....

.... did it... this was... round-eyed doe was yclept her song...

quel belle voix ... comme Bosch opinions reactives

__'They came from the four corners of the earth, driven by hunger, plague, tumors, and the cold, and stopped here. They couldn’t go any futrther because of the ocean. That’s France, that’s the French people.'

Voyage au Bout de la Nuit

Image __derived ______ from Jacques_Tardi''s 'comic' book illustrations of Voyage ~____________________________

I love the great reactionary writers. the great reactionary writers who. don't smoke. dont drink.
yet drink and drink water water. more water. think of Genet. never drank.O he smoked. so that made him Half-Reactionary. which is as beautiful. half a reaction is better than none at all....generally the reactive writers are crazy. quilt makers as Celine states again and again. the eloquence of their language . is excellence.
lots of them go off the rails
Pound, take Ezra
he went right off the rails
yet
whenever I read him
I become a better writer
just reading
him

Think of Bardamu's mad gallop off into the zones of everywhere africa, america,, anywhere away from the war| that millions ran to Join a Summertime romp they thought:a gallop to beat the "fritzies" O how they buried that fancy and the war that was the event of the of dada's coming to fore __________________________________________________________________________________

But Celine? makes you better? Not the same, because we are reading the book at several removes.. ah, the old problem, between seeing the 'thing itself' think of those Raphael paintings never seen by other painters except half way through the dim light of reproduction.. ...

Yers, yes, yes, yers ludic ideas of excellence what does it add up a mad voyage across the man made flight lines.

' reactionary of Course is line of flight in France the smelly stinky assin the head latindescartian stuffed lingo of the cacadademieeeee francaaaaaasizzzzzzzzz.|


what is it? in france, they tend to go more beserk over changes in their precious language, because its already so strict. so tied up... yes, Compare the polemic in English poetry say of WordsWorth Coleridge and others to that of Rimbaud Baudelaire, Laforgue, Mallarme, in france, I mean yes, the changes come but they are not Announced with the same violence....


it is because english is already more flexible, more supple, less prone to syntactical rigidity...

sweeps across its own plains always.... everywhich way I think Joyce says in the Wake... Joyce does not wa nt to make a universal language he wants to dream the world...a becoming dream world... the great conscious surrealist project... out did the surrealists at their own game....



I dont think Celine ever read Joyce and had he , well its different temperament... Joyce is Joy ... affirmation, Literature is the great affirmation. So he calls in the guise of Daedalus, the greatest of the arts..... Oh Im not saying french has not changed broken up shattered moved into a thousand positions, but it seems almost inherent to the whole of French sensibility to be contained within the stricter confines of its own buried epistemology...

Beckett moved back and forth traversed between the french and english....
yes,
and he said that Ulysses was still the book

above all books...

When you look at this interview with LF Celine,listen, to his voice, his voice, says it all, the hesitation, the coming,back, and forth, the little doubts between phrases, yet pervaded by a certainty, of the achieved work_ he speaks a staccato not a roupy staccato, (like his famous wild dogs) but a pausing, syncopated kind of jazzy one, he steps here (with his voice) takes a few steps, dances over a few rocks, whoah, pauses, breath, rattles off again, a brush stroke, as it were, of voice tympanum ... and this is the man who has written these books of force, and sure breath, powered by great ellipses, and the rushing over breath passing over thousands of words, le voyeur voyant___ Eric Ostrovsky calls him the great Voyeur Voyant... and indeed indeed...

his works are "finished" in a similar way that Joyce's works are finished.... say in contrast to Kafka's... and Miler, well Celine had nothing but contempt for Miller, its funny~
All these writers, paying homage to him, he snorted at them! Miller, pah,
Burroughs, pah, he scoffed at them, scorned their unfinished qualities..he like to compare himself to Breughal Goya, and near the end, Mostly Bosch, yes, Celine with his great clawed writing hand, a virtual Mitt! slabbed over the page.... he would have nothing but contempt for what I write... as well, he'd dismiss me as a madman, yet, he shared
more with Artaud the madman than meets the Eye, yes, the temperament, the gallingness of it, the resolute standing away...
-------he is the doctor, the doctor to the poor...
and there is another thing, his love of dancers, his dedications to dancers, his wife, Lucette AlmAnzor Celine, a woman who'd had polio and became by sheer force of will,a ballet dancer, and teacher of no mean repute....

yes, the dancers across his books, think of the dancesrs in the two Guignol's band, the language itself a spinning mad dance of haze across the page...a spin, a yard, a speed race....

a stampede even .....

and really hes such a funny writer ~
read the opening of Mort a Credit
Death on the Installment Plan _ the tile alone is enough to make me crack up|
no my own copy is not nearby otherwise, Id type it
rattling my typewriter todeath
with the sheer gangsterism of it....

----------------- and the last books, the Chateau Nord Rigadoon, the title itself

Rigadoon that fancy french court steppy dance, a baroque boat spinning.... so fine refined complex in its concatenations . | I am
an inarticulate barbarian compared to Celine.

the dancers dance

dance

dance

Louis Ferdinand Céline - Interview (1957), pt. 1

Documentary Celine

1998 Documentary "Un siècle d'écrivains" about the french writer Louis Ferdinand Céline, with the title "Un diamant noir comme l'enfer"

___________________________________

french wikipedia entry

---------------------------------------------------------
Purcell wrote at least once Rigadoon

_____________________________________________ Romans * Voyage au bout de la nuit, Denoël & Steele, Paris, 1932 * Mort à crédit, Denoël & Steele, Paris, 1936 * Guignol's band, Denoël, Paris, 1944 * Casse-pipe, F. Chambriand, Paris, 1949 * Féerie pour une autre fois, Gallimard, Paris, 1952 * Normance : Féerie pour une autre fois II, Gallimard, Paris, 1954 * D'un château l'autre, Gallimard, Paris, 1957 * Nord, Gallimard, Paris, 1960 * Le Pont de Londres : Guignol's band II, Gallimard, Paris, 1964 * Rigodon, Gallimard, Paris, 1969

_______________________________________________Céline en photo

'At least three of Céline's novels were adapted to graphic novel format by Jacques Tardi.'

about Whom you may learn more______________ here, at least it provides, as they say __A portal . to otjher things.

Nijinsky as the Puppet Petrouchka

The puppet Petrouchka was one of Vaslav Nijinsky’s most famous roles, Bronislava Nijinska wrote of her brother’s performance at the end of Petrouchka: “With an agonizing pain and sadness in his eyes, he extends a trembling arm in farewell to the crowd, knowing that only they, the gray, common, Russian crowd, love and understand Petrouchka. The heavy wooden head hangs to one side, and the tragic eyes stare out of the grotesque, still mask of the doll’s face.”
* Currently on Exhibit

Vaslav Nijinsky as Petrouchka, 1911. Serge Diaghilev/Serge Lifar Collection, Music Division, Library of Congress (031.00.00)
Digital ID # br0031

Image and text Above Library of Congress ~

______________________________________ other dance NiJinSky KleiSt etcetera ~

here then ~ What is Dance Roger Copeland

The Male Dancer
Ramsay Burt ~

________________________________ An

Playing in Lyric Time: Beckett's Voice Plays

borrow this idea, in part, from Paul de Man's essay on Kleist in which we find the ... puppet who is at once bound by gravity and yet,. "like. Nijinsky," ...
www.jstor.org/stable/3207888 -

by BO States - 1988

love letters

Spinoza's love letters are his philosophy. that's what his philosophy was,a love letter to the world, to love this world. yes.

Spinoza was a man with a gentle face.

it's a love letter

It might be that a writer has delicate health ... He is nonetheless ... a sort of great Alive ... Writing carries out the conjunction, the transmutation of fluxes, through which life escapes from the resentment of persons, societies, and reigns ....

yet another thing about blogs that is tiresome is the whole concept of

of subscribing I mean I dig it but I can change things constantly in what Ive written so it wont be what is one the “feed” the feed is there to draw the reader out to the text as its written at a particular moment but but its a log, right, and logs change, at least in this world. I mean what is a comma or a straight sentence to a man writing on a ship in stormy sea ________ it’s nothing he writes to save his life, not to get published or become a famous writer. so the good thing about it, the blog, is the machine is constantly changing, the record is transforming recording and producing. at least for some of us that’s how it works, that s the fun of it. so this log is washed over in the changing page of its event, of its moment.

One only writes through love, all writing is a love-letter: the literature-Real. One should only die through love, and not a tragic death. One should only write through this death .

______________________________ .

: deSire TelEViSion

Log
Fm --- crackle late night -- static in atmosphere ---ringing\of phone -- click click __ mobile phone to Radio : Caller : What does a dirigible have to do with Metaphor becomes reality radiodeleuze?

|
reference this post:
|radio deleuze: deSire TelEViSion|

assemblages are made composed reposed and disposed of parts from here . there. as each sees fit.
as a fit audience and few is required for the assemblage of this sowing work. one cannot spilling the poetry everywhere. one does not no longer one does not talk one does not talk ordinarily anylonger. one has painted the world with one's mouth. thought is made in the mouth. la pensée c'est fait dans la bouche.

_______________________________________________________________________

in other words: its a laboratory. experiment. dont interpret. that has a specific sense of combining elements from all overthe place.thus the intersection to the dada idea.
change the time. throw out the door!

AntiOedipus: itt is

Challengering: I dont think we were suggesting that a book
published by a poet is a commodity. Not at all. As we said,\
(that wld be too simple a thesis)
at the time, when "I" was D plus G [secret invisble line D_ to G
and then G______to D __________ yes, yes, god, the old
god, atheist be coming)

On one set of claws
you click this way and find your self doubledouble articulating
thus the dg gd . its really the zzzzzzzzzzzz
sound that made the proper name
Deleuze
more noticeable.
Now Mind
you
what would
the
zzzzzzzzzzzzzzzzzzz
sound be
if not
accompanied by
the
Ariiiiiiiiiiiiiiiiiiiiii
one
of Gua?

_______________________________________

CP So you were not suggestin' as some readers have it that the book of poetry, or novels
are all failures
of the line of flight
?
say 'under" capitalism?
_________________________________________________________________________

Non, non CP __ I would not be interested even in hinting at that
__________________________________________________ A set of clowns claiming marxism is our Oedipus _ ah, well you know children, Oedipal followers of "Deleuze and Guattari" might think this way. It's regular, expected, one sees the repetition of the effect not the creating of concepts.

________________________ Non non poetry is dozens of lines, literally escaping. How can poetry be anything other than lines of flight.

_______________________ what is suggested by way of that polemic is to examine the context in which books are published. One has to ask the same thing of any daily event, of blogging, webbing, going to the grocery. Our Friend, Jean Genet once said (in reply to a question about the money he made from his bOoks) that the money he made was so neglible that it made no difference to the capitalist empire. Quite right. he was. we are many voices, as is the voices of the poetry being in event at anytime on this full body of the earth itself. It s immance a power of continuation and love
_________________________________.

Love is perhaps the first category of philosophy.

AntiOedipus: itt is

______________________ when the book is a series of lines of flight then it undoes the excess territorialization made of it by the territories of the capital machining and mashing surrounding it.

deSire TelEViSion

__Take TexTake A Text Take aNy Text Take Two Take Two Take One One OnEEEEEEEEEETwo Two Two Take Three TakeThreeThree Three ThreeFor Free TextTake Te

During the summer of 1930 the British dirigible R-100 visited Montreal as part of a campaign to establish a North American terminus for a transatlantic airship route. The craft was moored at the St. Hubert airfield on the South Shore. This photograph shows the dirigible passing over Dorchester Boulevard (now René-Levesque) and Mansfield. At the right is the Sun Life Building during the third phase of its expansion by the architectural firm of Ross & MacDonald. The central tower features a reinforced steel frame sheathed in grey granite rising to a height of 400 feet. It was the largest building in the British Empire at the time of construction.

(zep via vehicule press )

_______________ Shall ______________W e?

______________________________________________________
"a complicity of tenderness"
Pedro Meyer
this image via Wood's Lot >>>>>>>

It is doubtful that the joys of capitalism are enough to liberate the people," Deleuze wrote in 1991.14 "Those who keep invoking the bloody failure of socialism don't seem to consider as a failure the present state of the global capitalist market, with the bloody inequalities it involves, the populations pushed off the market, etc. It's been a long time since the American `revolution' has failed, even before the Soviet's did. The situations and revolutionary attempts are generated by capitalism itself and they are not going to disappear."

Capitalism itself is revolutionary because it keeps fomenting inequality and provoking unrest. It also keeps providing its own kind of "communism" both as a vaccine, preventing further escalation, and an incentive to go beyond its own limitations. The multitude responds to both and can go either way, absorbing the shocks or multiplying the fractures that will occur in unpredictable ways.

A specter haunts the world and it is the specter of capital ...."

from the foreword (Sylvere Lotringer) to

~ A Gramma r of the Multitude ~ Paulo Virno

________________________________________

||| And dancing _______________________ give ss you dozen of flight moves ~||||


there were thou_sand dancer. some walk.Ed meanderStroll. Did other trot? some boulezed other


_________________________________________________________

waltz canoe waltz line of fuite? does fuite do 3/4 time? does the blocked out closed shape

invite Out as a hand Held outward palmate?


________________________ Broken connections disjuncted are best

think of the great Dance Macabre which swept across Europe _ old grizzled men
and women up and their dancing madly

Index all the references to dance in Nietzsche and Prof. Deleuze. Then get yer Guattari out while it joyously cries. The wah wah screams the echo

change of the electric weave body.

_______________________________________________________________

Okay MistS you gotta keep movin

In

beveled edge

MONTREUIL ---------------|ObJEct of DeSire| et et ....

____________________MiSter MarlOwe_______________Mister ShAkespeare ~ _______>

But “O O O O that Shakespeherian Rag-It's so elegant So intelligent.” ... O O O that ShakEspHerian Rag its So Intelligent So ElegAnt

en ce moment à l'antenne...

lundi 20 juillet 10h00 > 10h59 > LES LUNDIS DE L'HISTOIRE Les pièces historiques de Shakespeare: entre chroniques et fiction Par Roger Chartier A propos des deux volumes de Shakespeare, Histoires, Gallimard, Bibliothèque de la PléiadeAvec : Jean-Michel Desprats, éditeur, Gisèle Venet, éditeur Avec : Jean-Michel Desprats, éditeur, Gisèle Venet, éditeurRéalisation : Franck Lilin

___________________________________________________________________
Sénatrice-maire de Montreuil

Publié le :15/07/2009
« Les conditions dans lesquelles une manifestation, certes non déclarée mais pas pour autant interdite, a été dissoute par la police ce lundi 13 juillet à Montreuil, sont inacceptables. Des manifestants ont été frappés, des passants plaqués à terre, des élus molestés. » Lire la suite...

L ETAT TIRE DANS LE TAS A MONTREUIL envoyé par soukaz - L'actualité du moment en vidéo.

French Police Force aiming the Demonstrators to the Head

voir traduction français

Le 11 juillet 2009 par Stéphane Gatti

Abstract from the Stéphane Gatti’s letter :

"Joachim Gatti has been badly face wounded by a policeman’s Flash-ball shoot, July the 8th, in Montreuil-sous-bois (Grand Paris).

His father Stéphane Gatti, the elder son of the poet Armand Gatti, wrote a letter to protest against the disinformation coming from some newspapers, and explain how occured such a tragedy."

Read the rest
from la revues des ressources ici

"Libération devotes its front page to flash-ball guns. The paper's hailing the gun, which fires large rubber bullets, as the French police's latest "favourite toy". This is because, since 2005, seven people have lost an eye after being hit with these so-called "'less-lethal" weapons that the police are using to keep crowds in check.

Flash-ball guns made an appearance last week in the Paris suburb of Montreuil at a demo that was held in response to the police's heavy handling of an eviction of a squat there.
The Mayor of the town, Dominque Voynet, had harsh words for France's forces of law and order. She said the violence used to expel people from the protest in Montreuil was completely not worth it.
Too right! One protestor lost his eye after getting shot with a flash-ball gun. Voynet went on to quote a regional public security official in the Paris region who made light of the incident.
He said that we should count ourselves lucky here in France, reminding us not to "forget that in Iran, people get shot with real bullets".

French Press Review 15 July 2009

by Carly Jane Lock

French Press Review

------------------------------- and object of desire ~



(...) les hommes ne cessent de fabriquer une ombrelle qui les abrite, sur le dessous de laquelle ils tracent un firmament et écrivent leurs conventions, leurs opinions ; mais le poète, l’artiste pratique une fente dans l’ombrelle, il déchire même le firmament, pour faire passer un peu de chaos libre et venteux et cadrer dans une brusque lumière une vision qui apparaît à travers la fente, primevère de Wordsworth, ou pomme de Cézane, silhouette de Macbeth ou d’Achab. Alors suivent la foule des imitateurs qui ravaudent l’ombrelle avec une pièce qui ressemble vaguement à la vision, et la foule des glossateurs qui remplissent la fente avec des opinions: communication. Il faudra toujours d’autres artistes pour faire d’autres fentes, opérer les destructions nécessaires, peut-être de plus en plus grandes, et redonner ainsi à leurs prédécesseurs l’incommunicable nouveauté qu’on ne savait plus voir.(...)"
( Gilles Deleuze - Qu'est-ce que la philosophie ? )

for the image-paint and "flash" image associated by one flicker artist with this text head
over flicker here

re working

Re working the Artaud blog Mister Challenger. Soon it returns its eternal busty place. Its awful mysterium consistent desire space.

emilie d -various __________________

Members of the Jury of the 33nd American film festival of Deauville pose during a photocall September 3, 2007. L to R 2nd row : France's actor Nicolas Cazale, Directors Xavier Beauvois, and Andre Techine, President of the Jury, and Musician Charlelie Couture. L to R first row : France's Actresses Marie-France Pisier and Anouk Grinberg, Screenwriter Odile Barski and Director Emilie Deleuze.

Note that Emilie Deleuze looks away to the side...a glance away a line of ...

Ritornello

the director then turns away

to direct as the event is Over There______________________________________>

BiographieEmilie Deleuze débute comme assistante sur les films de promotion des élèves de l'Idhec, et réalise en 1984 un premier court-métrage "Un homme faible". Après des études de cinéma à la Femis dans la section réalisation, elle signe deux courts-métrages, "Coup de sang" en 1990, et "Jusqu'à demain" en 1992. Deux ans plus tard, elle réalise un film pour la télévision "L'Incruste" avec Benoît Magimel et Claire Keim, dans la collection "Tous les garçons et les filles de leur âge", série commandée et diffusée par la chaîne de télévision franco-allemande ARTE. "Peau neuve", son premier long métrage, a été présenté à Cannes en 1999 dans la section "Un Certain Regard" et a reçu le Prix International de la Critique. "Peau neuve", c'est ce que souhaite faire son personnage principal (Samuel Le Bihan) qui quitte pour un moment femme et enfant pour suivre un stage de conducteur d'engins en Corrèze. Emilie Deleuze nous entraîne dans la vie des chantiers et de l'apprentissage pour y découvrir un garçon hors du commun.

____________________________ The Father Daughter Line is TransVersal
going Sidewayssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss

stories of becomings, of nuptials against nature, of a-parallel cinelinguism, theft of image, were what I had with ___. I stole ____, and I hope ___ did the same for me.
Do I steal from you steel Lover?
_________________

NUptials of lover. Mouth. Comed to her Ring.

Crédit : TCD

Née le 7 mai 1964 à Nogent-sur-Marne, Emilie Deleuze est la fiille du célèbre philosophe et essayiste Gilles Deleuze. Elève de la Femis entre 1987 et 1990, section réalisation, elle tourne un premier court métrage, Un homme faible (1984) et un documentaire, Monsieur Pierre (1987), avant de décrocher son diplôme de fin d'études. Suivront trois autres courts : Coup de sang (1990), Va mourir (1991) et Jusqu'à demain (1992).

C'est via la télévision qu'elle se fait remarquer, en réalisant L'incruste (avec Claire Keim et Benoît Magimel), un téléfilm réalisé pour Arte dans le cadre de la collection «Tous les garçons et les filles».

________________________________ Challenger we've blogged about
_________________________Lady Emilie previously and so we
____________________________________ do again_______________________

poet working

poet working

poet working

poet working

When Robert Desnos the French surrealist poet, was asleep, he hung a sign on his door

statin'

Poet at Work.

Poet working
Poet working

it has a ring
a feel
of active
the machine

ringing
humming the desire machine
humming
as when a man moves his arm stays still a portrait tumbles to the earth

the neck is lighter the hand freer and the share profound

And when the looking evening is a day care centre


.

Working .






Try it .

____________________________________________
_________________________________
__________________
__________Poet Working

when analyzing a such a morpheme a Morphic like meditation

is ?

what were you doing while I spoke.

I was medicating I told her.

Face. She was not saying her

story. She was not

poetworking.

But grandstanding.

grandstanding.

______________

))))))))))))))))))))))))))

****************

signs that dont tell-tale

but renege the phrase

of something

looking for the word

that works the gerund.

is that it?