secret arrives

_________________________

Deleuze  in a taxi turns Jill saying this and these  to 

hold her fervent heart quick to the ready of what is to come ~ the not yet, yet the becomings of what is to arrive .

'Herein, perhaps, lies the secret: to bring into existence and not to judge.

If it is so disgusting to judge,

it is not because everything is of equal value,

but on the contrary

because what has value can be made or distinguished only by defying judgment. 

What expert judgment, in art, could ever bear on the work to come?'

__________________________________________

   ____________Mona reckons that her friend Genet had said something along the same lines       

in his last book:

Where (he asks) can one find the man who makes his living by not judging?

_______________________________

What little blood vessel in my brain could have ruptured?
 
____________


 what happened to the sons of deleuze and jonson tribes of? and the worthies of and sisters off too multitudes?
machine makes mistake between man and machine. rewrite it after| human man says | what a bummer|

___________________Back soon later|

that a way

________________

 we could speak of the sons of Deleuze

  

  in the way we speak of the sons of poets as in the sons of Jonson                    the sons of Ben

                                             the tribe of Jonson 

  the poet Ben Jonson  Shakespeare's confrere

and the brothers of Guattari _ 

    and because of the youthful energy of Felix we could speak of                    brothers flying  electrical                                                      horizontal lightening ~ because of his  beauty          his love    his action

                                              his fiery eyes 

                                         and his quickly ever moving

and if they could not understand this we 'd know they are

                     stupid and struck dumb and deaf in the old biblical sense....

they are dumb not to know love. ...

and this would be love the fire fusing and fortuning the two

showing us an example of how to work

to create

_____________ these are mysteries and secrets ~

The line of flight marks: the reality of a finite number of
dimensions that the multiplicity effectively fills; the impossibility of a supplementary
dimension, unless the multiplicity is transformed by the line of
flight; the possibility and necessity of flattening all of the multiplicities on
a single plane of consistency or exteriority, regardless of their number of
dimensions. The ideal for a book would be to lay everything out on a plane
 

of exteriority of this kind, on a single page, the same sheet: lived events, historicaldeterminations, concepts, individuals, groups, social formations .

||||||||||||||||||||||||||||||||||||||||||||

 1874: THREE NOVELLAS, OR "WHAT HAPPENED?"

The
"presence" of the tale writer is completely different from that of the novella
writer (and both are different from that of the novelist). Let us not dwell too
much on the dimensions of time: the novella has little to do with a memory
of the past or an act of reflection; quite to the contrary, it plays upon a fundamental
forgetting. 





It evolves in the element of "what happened" because
it places us in a relation with something unknowable and imperceptible
(and not the other way around: it is not because it speaks of a past about
which it can no longer provide us knowledge). 



It may even be that nothing
has happened, but it is precisely that nothing that makes us say, Whatever
could have happened to make me forget where I put my keys, or whether I
mailed that letter, etc.? 



What little blood vessel in my brain could have ruptured?
 

What is this nothing that makes something happen? The novella has
a fundamental relation to secrecy (not with a secret matter or object to be
discovered, but with the form of the secret, which remains impenetrable),
whereas the tale has a relation to discovery (the form of discovery, independent
of what can be discovered). The novella also enacts postures of the
body and mind that are like folds or envelopments, whereas the tale puts

into play attitudes or positions that are like unfoldings and developments,
however unexpected. 

Barbey has an evident fondness for body posture, in
other words, states of the body when it is surprised by something that just
happened. 

In the preface to the Diaboliques, Barbey even 






suggests that
there is a diabolism of body postures, a sexuality, pornography, and scatology
of postures quite different from those that also, and simultaneously,
mark body attitudes or positions.

Posture is like inverse suspense. 

Thus it
is not a question of saying that the novella relates to the past and the tale to
the future; what we should say instead is that the novella 



relates, in the present
itself, to the formal dimension of something that has happened, even if
that something is nothing or remains unknowable. Similarly, one should
not try to make the distinction between the novella and 


the tale coincide
with categories such as the fantastic, the fabulous, etc.; that is another
 

problem, there is no reason why it should overlap. The links of the novella
are: What happened? (the modality or expression), Secrecy (the form),
Body Posture (the content).

Take Fitzgerald.

________________________________Call   ~ 

"Call the strings or
rods that move the puppet the weave. It might be objected that its multiplicity
resides in the person of the actor, who projects it into the text.
Granted; but the actor's nerve fibers in turn form a weave. And they fall
through the gray matter, the grid, into the undifferentiated... . The interplay
approximates the pure activity of weavers attributed in myth to the
 

Fates or Norns." An assemblage is precisely this increase in the dimensions
of a multiplicity that necessarily changes in nature as it expands its
connections. There are no points or positions in a rhizome, such as those
found in a structure, tree, or root. There are only lines. When Glenn 

Gould
speeds up the performance of a piece, he is not just displaying virtuosity, he
 

is transforming the musical points into lines, he is making the whole piece
_________________________________________________proliferate.

Rhizome 9

 __ CP enter the head studio . She wear peacenik cloth. She wear nonretronostalgic get-up of present weartearthread. Her body loosehem gardenrobe.

cAN YOU explain for our listener your previous comment .... you mention breaking off with other artists. Yet as far as I know you never had a group you were working with. Yes, you worked with Franny and the girls. In there oui. And in the 70's and some 80's with performance . 

Is there a project I knew not of? Of not new? Performance clandestine?

CD: I said ____ apparently __ but not being a prize winner _ I cant remember anything_ not being academic __ matter_ not being short listed __ what does I know of memorize  ___ My memory is verb _ anyhow, not being at all is what. And he said I said : or wrote did I write he said did I write said at

'thats one of the reason I 'broke' off communicating with artists

who are writing under the

mistaken pretence|| that they are themselves when writing and doing art|||___ many of these artists are doing things in what are perceived as

critical,||  genre breaking modes..____, in my view, they are not doing this' radio deleuze___| Yet 
though this was said its not like you were ever . You cannot have 'broken' as you were not ever in touch. Was there a  moment this was ? SHe tag him butter to the weed. Kesus turn around|Come to Mary M. She lover to the skin of body.   Ever to the folding range of. Mouth of rhythm to. Come thy afflictions the cross betweens explain and inplain. One speak of plain and plane. And rereoplane. Does have geography of roamning? How does it


Practice
________________________In this version of  story. Kesus is in bed with the Queen of Angleland. The boy has  a buttock.  Over come Merry Mag. She want to action. After the end. Overcome animal ugly. Or is this the famous plex? Come along lovely. Cannot she
___________________

CP : Cd is not writing directly these days . He is moving into indirect undirected thought and prose practice.

 CD: thank you CP

______________

What artist worthy of her name is I?

 

 

 

 

 It is it is ... It   It is my first name.

No,  Yes I'm not taking a break from the fictions, 

Yes No, I'm not taking a break from the  AfLicfictions,

No, I'm not taking a break from the fictions,
(taking a flight in time
across the stationary voyage of the void) 

I've just not gotten around to writing any these days. I think I might not have anything to say!


Those sexy little bitches  ( I say this completely in a lovable way) have gone quiet! hahaha. You see all of my blogs are intertexted and wind in and out(like hands and fingers all over the place in and outof this and that hole and movingacross the various surface of emotion image and song, the body is many) of each other so that in a sense they are all fictions, but different halves. 


I realize that sounds odd as halves usually means one half of this and half of that.

But Iguess my unconscious sees it differently so I just go with the flow| I liked that piece in radio (deleuze) as well and it was actually a comment/link  on something that "I" had posted earlier. 

the blogs are one__ fretting metamorphosis  ~

the blog work is one element __ machining revising doing undoing redoing. making again and re again. the again word is the camber road of create _ welcome here reader

pli_______________________Pli

yes Mona and Jill and Franny discovering new ways of folding,___of becomings-text __ newer employments,
akin to new envelopments […]
but what always matters is folding, unfolding, refolding.Ravelling rapelling composing
- The Folding over at Fictions 4
___________________________________________ burrowing furrowing ~ 

_____________________________________

CD you see there's about 20 'active' blogs with a half dozen more waiting in the wings  ~

_________________________________________________________

On top of which I have halted adding titles to this one: there are also times Ido cursor ticks & tricks and then there's the different browser types/the fonts/ so wherefore fictions?

when "I' write an 'I' verse in recall or somewheres else I m not sure I is I. In effect, I am virtually Mona, Franny, Jill and the half dozen or 20 personaefictations spread across the planes of the blogs.

________________

thats one of the reasons I 'broke' off communicating with artists

who are writing under the

mistaken pretence that they are themselves when writing and doing art___ many of these artists are doing things in what are perceived as

critical,

or genre breaking modes..____, in my view,  they are not doing this 

__________________

Let me say this

another way:

having babies

is the same

no matter where you have them:in China, in the U.S.A. in France, Ireland,

London, Montreal,

|||||||||||||||||||||||||||||||||||||

(Chorus: He dont want babies! he dont wanta baba)

 dont wish to have babies

my arts  therefore are not  baby producing 

machines

blessin to them

that wish to produce

I baby machines in the internet

or in their writing 

in paper.

'My' machines such as they is

are

in a a differe different scene

senses 'alltwogether'

___________________

  And saying even this much is a bit much for me and now I want to erase it as it seems to suggest

expository discursive

'discourse'-----------------

soyez un bricoleur

become a bricoleur

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

_________________traceries of a                                    foreign  ~ 



speakingmissive speaking
clandestine
s is now. How does one read? Wherefore differencetween Ishmael Issac? _______ Ring bell
Melville wrote Moby Dick  last work ___ long poem,

________________________________

We do not repeat because we repress we repress because we repeat

oui do not repeat because we repress on repress because we repeat

 not repeat because oui on represswe repress because we repeat

because we represswerepressbecause we repeat

_________________________________________

                                                                                        to cast spell? casting spell witch's  capture hypnosis ? Anyhow? Ever


asked                     




that? A spell to cast a language on a being

on a becoming ~  a separate spell stratifying the experience of the                    molecules. Dream? 

come dream head mate. Of spel. there is no honeme nor phoneme to reckon the fine element of . its dastardly start. part. she was.

__________________Vincennes 1986. Order words/ directive performative. flash back: 1978: He's speaking of the machine as it wobbles along over the side of the Strata. Facing.

Winding

Cranking.

Reminds you of Jules Verne. It is~! Jules Verne. G--l whispers in my ear. And over we go. London. She want to go to meditate. That dont knot innetresteing to moiso-- bACK in Canada MOntreal strikes and striking adn strikes. want to rush 'back' to 'time' machine witness eventa thousand time over. the restless folding of its nongracious disjunction. However. Other thing come first. She get. I go .

It goeth.

_______________________

visual ruse: CP I dont think you know how to spell.

CD:Spelling is a visual effect not written. What

is spelling? Anyhow? Ever asked that?

A spell to cast a language on a being.

______

______

I Love Jack Kerouac

  3 weeks _________________________7 days

Beat Sympathetic  Believed in what I saw ..

______Gleaming spirit

go Moan for Man

Go Roll your Bones________

Supplication

ragged moth eaten overcoat...

gone

So

In
America

when

the sun goes

down

that raw land

bulge over the West Coast

the immensity of it 

the stars will be out

the evenving star

drooping

complete

blesses

alll the earth

Nobody

nobody

knows 

whats gonna 

happen to anybody

_____________

a               notes 

 Provisional hEARing

CD_______________


More: its this as well: there is no depth no tactile sense on the screen              How can there  be ?                   theres a hard surface like a television screen...

for the visual medium past things were more direct. what we call visual medium

oughtto

be called content: 

for a painter works directly in material and works up from there.

up to other levels of expression

she works

up

as they

say

her material

whereas words dont require that sort of secondary medium they are the medium in which they speak and in this case, write,  and are written. Words

are the content

of their

expression

the form

they assume

at a given

time is 

another word for medium

however medium

is inadequate

as its 

assumptions

are

too brazen

and crude

even

form is the infinite

shape of what can become

other

medium one might

say is a resting

temporary

spot

for the infinite

expression of

words

words

of course

are spoken

by human

beings

human

becomings

form

can be the limit

or shape

of words

as written spoken

recorded

etcetera

poetry is afine

example

of the infinite

plasticity

adn metamorphic

quality

of word

call it

the quantum

of infinite

expression

the calculas

of

content

infinite

the word itself is a visual medium in the sense that One sees the words. However, One also Hears them almost simultaneously

If the internet is not visual it is not so because it cannot transcend its features.

blogs demonstrate vitally the limits of a medium as the hard space of the end of a blog frame ShOWs ____________

the hard screen the motors an
d microprocessors that build it dont have that capacity.

when 

                  they do it wont be internet it will be something else.

Cp: None of this is possible as everyone

sees things 'on' 

                  the space of

the surface

of internet


CD: On the contrary you're
not seeing
at
all
                 whats seen is heard
first


                                       as the envelope
of the body
catches
the rays


of the
sun
in the
Ear


what you experience
as seeing
is 
actually
the





deflection
of sound




seeing is ob_scene
ob_ scenario


____A scenario is
presented


you see
something
traveling
over
air
waves
what



carries
the
waves
i


s sound
the light
sound
of 


air




lambency


levity


seeing is a n hallucination


the hindus


called it


Maya


the eye cannot touch
so in painting
the painter works
to create
touch
over the space


of reduction

(reductions not bad initself

it just aint comfortable)

a painter

seduces

us with her charms

and 

invitational spaces

the rough
surface
of a Picasso

versus
the 
smooth reproductive
screen.

Flesh
Skin
Bones
as
oppossed
to 

Plastics
electronics
condoms


words
that are condomed
so to speak
have become
stratified




words
that become
are
raw




this almost seems 
obvious
but one must
find the words
to say
it
the grasp
of the word shake




___ More Anon

CP thanks   Mister Poet

________________

this was not written
at all
but blogged
blogging
is not 

visual

but


deterritorialed


at its best


__________________________>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

 

it   ~

                                               its'                      cause the internet aint a  visual medium   like a book a  book like a internet aint visual to book aint like a______________________________________________________

its why they say its a burrow best exiting  Over there 

here 

                                                        doc           not sure that one worked         worked? we're working at work. work at working

(the problem is you think of it as   a page and its aint its a speak 

)

on travaille bien et mieux _ ce ça passe

how do you end the periods                                                                               

                                     (get rid of them the speech overlaps)

(doan confuse  resemblance  to )

   we're working on that

the problem's the box of the blogs 

__________________> blog is booK/ so there's page

endings

                                                 There's no reasoning with resentment    there's no reasoning w                            ith                  there's no rea                    soning there's no reason there's                               no rea there's no re there's no there's n O there's 

there' 

there 

ther

the

___________________A praxis in its steead that is

Now detachment from the object of.

                                                                                                                           Was better detachment from the object ofthan       detachment from the object                                                 ofthe petit objet A? was it.                                                     You detachment from the object oftart    

r detachment from the object ofthan       detachment f                       rom the object                                                 ofthe petit objet

er detac

hment from the object ofthan       detachmefrom the object                                                 ofthe petit objet

___________________________ if reason's the dog then


if __________
if that calculus does not work. then the doubles of . work. working.. how the
head  ____________________and _______________heart 
 __________________________work
.
                             if reason's the dog .

                     if dogged reason