A for assemblages___fragment for

Assemblages (  Jill Franny, Mona and the others live in assemblages, as agencements of the fiction machine ) are already different from              
                                                    strata. ____ 




The strata __ the place where normal biography is written __ The strata  infinitely, as the word indicates,  are the regular daily lines gathered in forms of the visible, the statistical visible anatomy  of the body, the geology of the earth .




They are produced  (written)  in 
the strata,




 but operate in zones where milieus become decoded:  (The milieu, in this c ase, is writing and the decoded space of blogs)








they
begin by extracting a territory from the milieus. Every assemblage is
basically territorial.
  Jill's becomings   ~ Mona's line of flight   ~ Franny's deterritorializaton realizationof ~

                 The first concrete rule for assemblages is to discover
what territoriality they envelop,

                                           for there always is one: in their
trash can or on their bench,

                 Beckett's characters stake out a territory.

Stake /cake/william blake ~

Discover the territorial assemblages of someone, human or animal:

"home."

The territory is made of decoded fragments of all kinds,


Bits and parts from here there 
hither  & hinterland of other learnings


_______________

which are borrowed from the milieus but then assume the value of

"properties": even rhythms take on a new meaning (refrains).

-----------------------------------
In the book this chapter has numerals printed
along side
of the different sentences that refer to the other sections
of the book
where these matters
are discussed
I 
radio
omitted
them 
here


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

 The territory
makes the assemblage.

The territory is more than the organism

and the milieu, and the relation between the two; that is why the

assemblage goes beyond mere "behavior" (hence the importance of

the relative distinction between territorial animals and milieu

animals).

Inasmuch as they are territorial, assemblages still belong to the

strata. At least they pertain to them in one of their aspects, and it is

under this aspect that we distinguish in every assemblage content 

from expression.

 It is necessary to ascertain the content and the
expression of each assemblage, to evaluate their real distinction, their
reciprocal presupposition, their piecemeal insertions.


 The reason that
the assemblage is not confined to the strata is that expression in it
becomes a semiotic system, a regime of signs, and content becomes a
pragmatic system, actions and passions.

This is the double articulation
face-hand, gesture-word, and the reciprocal presupposition between the
two.


This is the first division of every assemblage: it is simultaneously
and inseparably a machinic assemblage and an assemblage of
enunciation. In each case, it is necessary to ascertain both what is said
and what is done.


There is a new relation between content and
expression that was not yet present in the strata: the statements or
expressions express incorporeal transformations that are "attributed"
as such (properties) to bodies or contents.


 In the strata, expressions do
not form signs, nor contents pragmata, so this autonomous zone of
incorporeal transformations expressed by the former and attributed to
the latter does not appear.




 Of course, regimes of signs develop only in
the alloplastic or anthropomorphic strata (including territorialized
animals).

But this does not mean that they do not permeate all of the

strata, and overspill each of them. 

Assemblages belong to the strata to

the extent that the distinction between content and expression still

holds for them. 

We may also think of regimes of signs and pragmatic
systems as strata in their own right, in the broad sense previously
mentioned.


But because the content-expression distinction assumes a
new figure, we are already in a different element than that of the strata
in the narrow sense.




The assemblage is also divided along another axis. Its territoriality
(content and expression included) is only a first aspect; the other
aspect is constituted by lines of deterritorialization that cut across it
and carry it away. These lines are very diverse: some open the territorial
assemblage onto other assemblages (for example, the territorial
______________________________________So Deleuze and Guattari's  Book it's ending to be read at the End   ~ as quick wash to the silver sea of Mud





refrain of the animal becomes a courtship or group refrain). Others
operate directly upon the territoriality of the assemblage, and open it
onto a land that is eccentric, immemorial, or yet to come (for example,
the game of territory and the earth in the lied, or in the romantic 11 artist
in general). Still others open assemblages onto abstract and cos-and mic
machines that they effectuate.




 The territoriality of the assem-4 blage
originates in a certain decoding of milieus, and is just as necessarily
extended by lines of deterritorialization. The territory is just as
inseparable from deterritorialization as the code from decoding.
Following these lines, the assemblage no longer presents an expression
distinct from content, only unformed matters, destrati-fied forces, and
functions. The concrete rules of assemblage thus operate along these two
axes: On the one hand, what is the territoriality of the assemblage, what
is the regime of signs and the pragmatic system? On the other hand,
what are the cutting edges of deterritorialization, and what abstract
machines do they effectuate? The assemblage is tetravalent: (1) content
and expression; (2) territoriality and deterritorialization. That is why
there were four aspects in the privileged example of Kafka's
assemblages.






----------------------------------------------------------------------------------------------
CONCLUSION: CONCRETE RULES AND ABSTRACT MACHINES

It is composed not of chapters but of "plateaus." We will try to explain

why later on (and also why the texts are dated). 

To a certain extent, these
plateaus may be read independently of one another, except the conclusion,
which should be read at the end.


------------------------a THOUSAND PLATEAUS WAS WRITTEN BY fELIX gUATTARI AND GILLES dELEUZE

Michel Foucault et Gilles Deleuze (vont ) ________au Movies_____________________ au cinéma

___________________a combination of cinema goer. movie maker see the movie. see the reel spin reel to real . screen to screen    ~ the thinker of relays and power, and the thinker of movement image, time whole part breaks encounter in the seat of the cinema floor of the    ~

M: A book about our movie habits.

D: Ouai

Michel Foucault et Gilles Deleuze vont au cinémaDeux études sur la relation de penseurs du XXe siècle avec le 7e art. Théorie critique de l’événement historique chez l’un, décryptage conceptuel des images chez l’autre. Foucault va au cinéma, de Patrice Maniglier 
et Dork Zabunyan Éditions Bayard, 2011, 
170 pages, 21 euros.
Deleuze au cinéma,
de Serge Cardinal.
Presses de l’université Laval de Québec, 2011, 236 pages, 26 euros.

La philosophie est, selon Georges Canguilhem, cette activité de l’esprit qui se nourrit de toute matière qui lui est étrangère. On a envie d’ajouter : à la condition de ne jamais perdre le sens du concept. Comment alors ne pas se montrer méfiant à l’égard de la mode récente qui, sous le titre un peu fumeux de «cinéphilosophie», prétend illustrer des enjeux théoriques à l’aide d’images élevées pour l’occasion au rang de philosophèmes prêts à l’emploi ? L’art cinématographique, septième du nom, mérite à coup sûr un meilleur sort que celui de stock d’idées animées pour auditeurs et spectateurs en mal de lecture.

____________________________

D Deterritorialization

D

Deterritorialization

The function of deterritorialization: D is the movement by which 5
"one" leaves the territory. It is the operation of the line of flight. There
are very different cases. 

D may be overlaid by a compensatory

reterritorialization obstructing the line of flight: D is then said to be

negative. 

Anything can serve as a reterritorialization, in other words,
"stand for" the lost territory;
                                                             one can reterritorialize on a being, an




object, a book, an apparatus or system.. . For example, it is inaccurate


to say that the State apparatus is territorial: it in fact performs a D, but




one immediately overlaid by reterritorializations on property, work,
and money 
                                          (clearly, that landowner ship, public or private, is not


territorial but reterritorializing).


. Among regimes of signs, the

signifying regime certainly attains a high level of D; but because it

simultaneously sets up a whole system of reterritorializations on the

signified, and on the signifier itself, it blocks the line of flight, allowing

                             only a negative D to persist. 

Another case is when D becomes




positive—in other words, when it prevails over the reterritorializations,




which play only a secondary role—but nevertheless remains relative

because the line of flight it draws is segmented, is 

divided into




successive "proceedings," 


                                      sinks into black holes, or even 


            ends up in a
generalized black hole (catastrophe).

 This is the case of the regime of

subjective signs, with its passional and consciousness-related D, which

is positive but only in

a relative sense.


 It will be noted immediately that these two major
forms of D are not in a simple evolutionary relation to each other:




the second may break away from the first, or it may lead into it (notably
when the segmentations of converging lines of flight bring an




overall reterritorialization or one benefiting a particular segment,




                                                 thus arresting the movement of escape). 


There are all kinds of mixed
                              figures, assuming highly varied forms of D.






                                             ConCreTe RulEs an AbStrAct MaChinEs  [508]_______________________________AThoUplaToE  ~ 
===================================================================

from rhizome p 4

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

Writing weds a war machine and lines of flight, abandoning the strata, segmentarities, sedentarity, the State apparatus.

But why is a model still necessary?

----------question of presentation and representation

 AtP___________________________________________

a troll a N EN C (o) aunter a. crooked gait...a crooked HerMes

_______out for a stroll/
cuts  cross/lane /__City line/ rigg'd to country lane and our body who

wherefore this strange juxtaposition? : a s troll a s aunter a. crooked gait...a crooked man... |||||||||||||Some suggest there is Anomalous creature here? the indivisble visible as the  ones. marched to mozart in master genet's last to book death before last written livre

is there a troll for the toll of ? suggestion a suggestion of the , the gestion the gestation rather

So beauty is love then .________________________________________________________

such a  

beauty 

was the 

undefined

who knows

from In The Deleuzian Age, California College of Arts and Crafts (San Francisco, 2000)

Despachos¹ at the museum: Who knows what may happen . . .
by Suely Rolnik

It is always a question of freeing life where it has been imprisoned, or trying to do so in an uncertain combat.

Gilles Deleuze and Félix Guattari²

Life, in its power of variation, constitutes one of the privileged targets of contemporary capitalism investment. The visible horizons for its expansion being exhausted, it is in the invisible that capital will discover this unexplored mine: to extract life’s formulae for creation, in its different manifestations, will be its goal as well as the cause of its inevitable ambiguity: Actually, on the one hand, to meet its aim, capitalism will necessarily have to invest in research and invention, which increases chances for expansion of life – on the other, the aim of its investment is not the expansion of life, but rather the manufacturing and the commercializing of clones of the products of life creations, in order to expand capital, its leading principle.




 The most obvious example is genetic research resulting in a DNA databank that feeds the biotechnological industry with matrices to be reproduced, even in a very remote future. However, not only from biological life is capitalism interested in extracting formulae, but also from subjective life, where the feeling of the self is being generated and where the territory of existence is being shaped, without which one can hardly survive.




 Just like biodiversity in nature, a never-ending source of investment to capital, there is multiculturalism in the modes of constituting subjectivity.

Thus, neo-capitalism summons and supports singular modes of subjectivation, but only to reproduce them, detached from their connection with life, and turned into products: mass-produced clones, commercialized as prêt-à-porteridentities.³ 




What is sold are images of those identities/goods that will be consumed even by those whose subjective marrow capital sucks to produce the clones.




 In the contemporary re-invention of capitalism, the distance between producing and consuming vanishes: the consumer him-or herself becomes its raw material and its product.

http://www.stretcher.org/projects/despachos/despachos_sr.php

-------------------------------Writing CombinAtRoires Collage Baby Texting....

In dialogue written with Claire Parnet, entitled 'On the Superiority of Anglo-American Literature' (1977) Deleuze claims that English is a hegemonic, imperialistic language.          But for this reason it is all the more vulnerable to the ===

________________________________

What Mona like is the teeth, his teeth smile his sourire des dents

the subterranean workings of languages and dialects which undermine it from all sides and impose up it a play of vast corruptions and 

variations. (58). A Key into the Language of America ,, of Canada ,,   works within _________________________||| 

---an  an __ And  Harry's (Mister Orson  Welle's) Smile Oh La La ~ the shifting 

____________________he runs off into    ~
|||

ground of power of American English, but also attests to the vast and violent limits placed on its subversion.

--- Check them Teeth out and them there Smiles!

 (for thorough reading of Deleuze and Cinema
see 
Corry Shore's
http://deleuzecinemaproject1.blogspot.com/
and
Wrong Geometries in The Third Man  

In his discussion of German Expressionism, Gilles Deleuze observes that ‘light is the subject of a geometric optic, when it is organized with shadows into two halves, or into alternating rays’ 

I seen an reseen (scene scene (after scene second after second scene to second scene n scene) this movie many time and it never cease to amaze -----------------------------------------------

If the rain never stops we

will have Noah's flood

flood of beauty

deluged of bodies

  bodies of beauty  ~

       body of boat   ~

                conch an cococut beauty   ~ as beauty's boat   ~

        _______________________________

Anne Sauvagnargues : Le lacano-marxisme de Deleuze et de Guattari

 V

ideo is from a conference in January : Colloque Mai 68 en quarantaine: May 68 forty years after:--------------------------------Anne Sauvagnargues had been a student of Deleuze in the Vincennes days.... if you scroll around thru the video archives you can hear her questioning Deleuze about music way back in the 70's. Her book Deleuze et L'Art is most informative and does the best job that I know of explicating the works of Guattari and Deleuze.

By explicating, I mean that her her writing about Deleuze and Guattari brings the reader into an engagement of their terms, rather than reducing them.

<




The name of a philosopher    ~ what is it? what does it betoken? how does a name work into the thought  the 'person' bearing it addresses?------------
                        Dig her name's deterritorializing effect   ~ ,, the sound ,, the 'crashed' 'pilled' up syllables.. the  Sau     (So)       va  (Go)     gnar (gnarled and no )    gues  (glue binding and unbinding and the onomatopoeia of goo) (english connotations that simply run off the sounds)   it is a ___ a rich and suggestive  ~  And the sound of  "Anne"   Imply there is More to come so And 
                            thus more .. more of what? of many (le multiple/multiple)   as this name
               breaks out the 'average'             name's    expectations   ~ 


________  Sau va gnar    gues_________And Savage____which is the deterritorialized par excellence ___unruly___wild__outlandish as Deleuze says echoing Melville    ~________ 
                                    yet we encounter  ,, articulate intelligence  fine tuning ,,
          thinking through the object at hand,  not thinking around but into the object's singularity ie the ar gue ment she brings to bear  about relations
               seen _______unseen ______________then seen again
                     territory reterritory deterritory    ~ 

Anne  Sauvagnargues  is ___________________Maître de conférence à l’Ecole normale supérieure Lettres et sciences humaines, Anne Sauvagnargues,            auteure notamment de Art et philosophie, (Anne Sauvagnargues, dir.)                    Fontenay-aux-Roses, ENS Éditions, décembre 1998 ; « Deleuze. De l’animal à l’art », in Paola Marrati, Anne Sauvagnargues, François Zourabichvili, La philosophie de Deleuze, Paris, PUF, « Quadrige/Manuels », 2004 ; Deleuze et l’art, PUF, 2005 ; L’empirisme transcendantal, PUF, 2008 (sous presse) et de "Nietzsche e Deleuze : captura de forças e crítica clínica", In : LINS, Daniel (organizador). Nietzsche/Deleuze : imagem, literatura e educação : Simpósio Internacional de 

Filosofia, 2005. Rio de Janeiro : Editora Forense Universitária ; Fortaleza, CE : Fundação de Cultura, Esporte e Turismo, 2007, p.17-27, tradução Daniel Lins ; « Littérature, peinture et cinéma chez Deleuze », Forces figures, faire sentir les forces insensibles, Théorie Littérature Enseignement, n° 24 – 2006-2007, Paris, Presses Universitaires de Vincennes, 2007, p. 39-64 ; « De la variation mineure à la variation continue », in Bruno Gelas et Hervé Micolet (dirs), Deleuze et les écrivains. 

Littérature et philosophie, Nantes, éditions Cécile Defaut, 2007, p. 281-292 ; « L’image. Deleuze, Bergson et le cinéma », in L’image, Alexander Schnell (dir.), Paris, Vrin, coll. « Thema », 2007, p. 157-176 ; « La table des catégories comme table de montage », in Gilles Deleuze et les images, 

                                           François Dosse et Jean-Michel Frodon, Paris, Cahiers du Cinéma, INA, 2008, p. 117-128 ; « Devenir-     animal », Comme des bêtes, Catalogue de l’exposition Comme des bêtes, Musée cantonal des Beaux-                                                                                                                                                                     Arts, Lausanne, 28 mars-22 juin 2008, Milan, Editions 5 Continents, 2008 ; « L’accord discordant des facultés. Lectures deleuziennes de Kant », in Bouton, Brugère et Lavaud (éd.), Autour de la Critique de la Facuté de juger, Paris, Vrin, avril 2008. Elle dirige aux PUF la collection                                              "Lignes d’art" avec Fabienne Brugère.

_________________________________________Dig the radio waves goan out/particle and bit/byte t'a intelligencing
The presentation of the conference , notes on authors, and other videos can be found                                                                             at  ~

http://colloque-mai68.ens-lyon.fr/spip.php?rubrique64&lang=fr

                                                                       

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

re : i.e.

CD:::::::::::::::::::::::::::::::: I said 2 but its now 10 and meant to say

the side

bar

                           is now below

the bottom of where the posts end....

this can be changed without layout but that depends

on your template...

                                        its another deterritorialization                   (how does ya spell that damn word) (Mister Melville)

realization

_______________________ie ie ie ie ie ie ________________________________________________________________________________________________>

i.e.

i.e.

 Blogger not too long ago recently change its layout for front page in newer design and thus the sidebarr of this blog
has not
gone
down the side of the page


_______________________Some of the design effect was 'lost' yet it has also opened up farther .... spaces of opening in the sight of the page...    i now limit this blog to 2 days for front page...   otherwise
one has to redo the layout...




__________________________________ One thing among others.. to me its all interesting....

radio_________________D

Clifford Duffy: Radio D and the other blogs was down for a few hours as blogger com itself was down... this is part of the nervyness and excitiment of blogger...

its constantly changing territories............zzzzzzzzzzzzzzzzzzzzz


for example 'I ' always fiddling with the dials changing settings, tryin
things out

________________________

trying out fonts

colours

layouts
                                          <mar quee> html htmltml html
sizing


                 its aprt the machin' ... the clock/click


___________________Working not working in draft blogger

old classic

template

                 new er of 2006


even Pro                file name chan              ges...  meratorphois ... invoicing outvoicing...
for years
_____________________________ How does blogger work? does blogger blog bodies how is  the body effected by the citational virtual body of the blog ?


                 _______________====================how is one's daily life affected?
doe s it create intensities of passage

(does a radio have to be a radio :                                                                                                                                    

                     to wit needit be aural? is there not                       a voice pervading already all heads? )

 --------------------------                                                                              -------particles of community? ------------------?>>>>>>>>>>>>> in this world lunatics & resentment abound?


do blogs limit the stretch of their lunacy?
 ___________________________________Blogger is provided 'free' by google
and we are not assured of 
permanence.


email your works to your self.


______________________Shall we try other blogplatforms?


____________How shl.d libraries archive blogs?


how does one archive the vanishing electronic dust of blogs and internet?




__________________then think of the viability of computers ?
how reliable are their viable?


=====================================save this page as?
_________________________________________________________

re:::::::::::::::::: Let'sCp

So Continue CD

:

OKay well imagine all the books that are written/published that define themselves

around the negative and lack/ all the yeasayers to this ideation/the hidden sneaky

ones the returnees to a sort of Hegelian c ant. No pun intended to this itinerant book ranting.


Cp______________artniture: That including the catalogue of nearly all of the   ~ CD: INKNOW its Horribilating! its debitilitating!

RE::::::::::::::::::::::::::: Let'sCp


______________________________________They've sneaked by the door called Deleuze and its swinging not
 with the Arrow that flies to the next thinker
                                         however it has been caught on


to


by the Blinkers of Eyes!
__________________________The Blinkers
                                                                            Not the thinkers!
                  Nietzsche' ve called them the Blinkers of Eyes


 _________________They're horders of 'em 

__________________________________

_________________________________________________________

lines of deterrritorialization

Let'sCp

CParNiture:~  shall we blog a bunch of books not to read about our old teacher?
Cduffy  ~ : what a  lovely idea~ trash abounds in heaps/electronic & print &
opinion is arat's who's tail keeps sweeping the dungeon   ~ .
CParNiture :  ~   Suggestions of ,, recommendations of what not to read,a s  to save readers the horribilating paths of dilly dally falsehooding

Duffy

they

can

read

fr 

theyselves

dontchat t'inK?>

_____________________________'

think

as does

thinking

as thinking

does its

yourself

who reads

the eyes

of saying

_____________

you read spoke~

_____





u seperate head of body wearing the war night .~





children of the mire the third mind ulysses arp on arp poems and essays poetics critical and literary terms dylan thomas mla hand for writers of research papers john donne war and peace theory and criticism difference and repetition kaddish selected poems antioedipus portrait oratoire de gilles deleuze aux yeux jaunes kissin' tellin postcard mail art multitudes


some books you have to care for everything everything is sacr'd we look after bless everything care for everything answerable fore every thing there is another philo sophia grain against tell 1938 after small pox brink of 37 hundred tribes blankets thankful guns on shore mighty white of national monument diseases aboriginal people irish disear disappearia bear path six hundred years old talking anylonger grizzly bear land land land locked looking at seen them veils in the shutter wind respect those grizzly moose human extinction blame the Indian this time ~ when where and why what white says is green brown piece diamond in the mud resent ment rights right you has rugged right~




I~

you read spoke~


Un Deuil




spoke I spoke of veils and poverty. Or modesty. What is a veil, but a verily which conceals ___. Sur le point des amants __ what was the word, my love, what was the word, which I sound but do not know. Is it that which keeps the hidden secret? Is there a scent here of secret, and lover's maid? A "jeu de mots" commes des amants sur St. Denis. Sur? Perhaps in St. Denis, that faubourg I __ No I never went. J'ai jamais allez. Walk the street of Paris,
like a nightmare seeking its lover.
Who's cooled the bridges of hate.
You never called. When you did,
the telephone broke.
Someone was broke.
Words from your language. Sound.
Sounded. In the Night.
Why make capitals, when allegories do.
as wine cut the lip of your speak.
Speaking to him. Parlez a lui.
Oh well, you know, tu sais,
the world, the world,
is a big city. Un[e] grand ville pour les ponts, et les villes.

As lovers, I send you this lip, a hand.
Over yours to mine in the elbow of your thought.
A grimace. Or a leaping sheet.

No, something naked, then, my body
, yours, here, between these sheets,
electronic or cotton, soft as electricity
can only be.


Did I already say?



We are not interested in the Empire. the pool of Bethsheha will do for u s .








or say sent?

did you?



Not sure, is not I ~ .

________