___________________________walls and _________________________

_______________ Entries

                                                                the problem of the Wall_ how does the wall

can it

   does it?

                                                                              ought to come with other things such as: caress, or rubadub or yaya, or forcoughforcough or im duming and yumming! i learnt how to forcough in a book called enderby by anthony burgess.

O lord thou pokest me over!

                                            question of the(e) day is love a dictatorship and a democracy?


I am  wondering   (learning )how to turn  a Wall  into a line... or a potatoe! between this and '~real writing' one asks how to divide and multiply~so between 'here' and the 'there' of real writing, or wait, real writing is also 'virtual' (and blogs are a part of this questioning also). and then the question of translation. of transition.


                                                             I recently read in Eric Alliez's introduction to the Guattari Effect the discussion he brings up about translation and how this affects our reading of Guattari's texts (and naturally others). When you read a reader whose penchant for inventing terms is abundant and varied as was Guattari's and you 'translate' them you come across a stretch of possibles.




                                                                        He discusses the term assemblage and 'agencement' as examples. Anyhow, i sort of think something similar arises in       electronic social media, the virtual places__ speaking to people across different languages, and browsers, and computers, and time zones. So to continue this infinite multiplication and drift. 




                                          So there are languages, and desires and bodies, and the virtual unsmooth space of face book, and the possibility of its visual field becoming virtual visual?
                                                More to continue to become continued.










Mais para se tornar continuou.So the 'bing' translation machine. so the machine machine. the writing machine .










if i like everything does that make me a Simile?


One can ask and I do, as I as I am , if I am, is the body and language that greets at the border of desire the mouth which speaks? so then the I is the borderline of the body at the ridge of desire. One, then Two seeks the sober line of deterritorialization, and not the demented one. One has to literalize metaphor to find, to create the machines, and 'agencements'. 


                                                                                      Take the terms elsewhere.




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we produce subjectivities, yet are not, except for a select few, paid  for it.
         Guattari says somewhere that those in analysis ought to be paid, because they produce. they produce as much as the analyst

 Guattari was generous at all times.

    with time and money and not the backhead of his non-existent 'alienation.' a term permitting those fearful of encountering the other , to disclose their permanent solitude of lack. but their lack is selfimposed.

 albeit their's is imposed by themself alone to the schizo, no neurotic intension.

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speak

_






 CP:what is going on here .. you ar e not riting ?CD I? irite to speak. i speak these days               in the radio of self of daily discourseintracoursing and wriitng poetries as i try. and breakin g           between the phonetic and conceptual aspectings of verse . as the curse rhyme/again(t)s the machine of i forget what aS

1.                      speaking is what a body is. becoming. and not being permitted to speak one sellf seeking 'outlets' like water from a vein, or tap, or water from tuplet? tulip, a TuLip to burn!

------------------------------------------As you know the body moving between

and  cumbering

cambering

O  clippping

. what does   radio deleuze know about this? and nothing and less . no claim, no prior claim to private discourse

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... t... h...e....f .... o ...l ... d ... B...a ...r ... o.. q ...u....e

      

_________________________ Okay we'll speak with Leibniz

 Leibniz's optimism is really strange. Yet again, miseries are not what was missing;the best of all possibilities only blossoms amid the ruins of Platonic Good. If this world
exists, it is not because it is the best, but because it is rather the inverse; is the best
because it is, because it is the one that is. The philosopher is still not the Inquisitor he will soon become with empiricism, and he is even less the Judge he will become
with Kant (the tribunal of Reason).

 He is a  Lawyer , or God's attorney. He defends God's Cause, following the word that Leibniz invents, "theodicy." Surely the justification of God in the face of evil has always been a philosophical commonplace. But the Baroque is a long moment of crisis, in which ordinary consolation no longer has much value. 

There results a collapse of the world; the lawyer has to rebuild it, exactly the same world, but on another stage and in respect to new principles capable of justifying  it (whence jurisprudence). An aggravated justification has to correspond to the enormity of the crisis: the world must be the best, not only in its totality, but in its detail or in all of its instances.

    We clearly  witness a schizophrenic reconstruction:

                                                          God's attorney convenes characters who reconstitute the world

with their inner , so-called autoplastic modifications. 

Such are the monads, or Leibniz's Selves, automata, each of which draws  from its depths the entire world and handles its relations with the outside or with others as an uncoiling of the mechanism of its own spring, of its own prearranged spontaneity. Monads have to be conceived as dancing. 

                                                                                                                                                                          But the dance is the Baroque dance, in which the dancers are automata: there we have an                 entire "pathos of distance," like the indivisible distance between two monads (space);the meeting between the two of them becomes a parade, or development, of their respective spontaneities insofar as their distance sis upheld; actions adn reactions give way to a concatenation of postures allotted now and again through distance (Mannerism).

  The principle of optimism , or of the Best, saves the freedom of God; it is the game of the world and God that guarantees this liberty.

  6                                   8                                          6                             9

Incompossibility, Individuality, Liberty

 C. 5

The Fold

Lebniz and the Baroque

Written in the very words of the philosopher Gilles Deleuze

translated into the English

by

Tom Conley.

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where did the notes go that are contained in the text.
as the lawyer speaking. has no hand. in the summer err.

so it contains no text but merely the appearance as electronic air.

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LECTURES BY GILLES DELEUZE

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Table of Contents The Body, the Meat and the Spirit: Becoming Animal Capitalism: A Very Special Delirium Postscript on the Societies of Control Theory of Multiplicities in Bergson On Kant On Leibniz On Spinoza Capitalism, flows, the decoding of flows, capitalism and schizophrenia, psychoanalysis, Spinoza.

GILLES DELEUZE

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vanished

into unknown audio

territories 

sans

trace

sans

body

organ

nor

voice

leaving rich thought to become the humble beginner
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