Radio DelEuZe: Abécédaire pour Gilles Deleuze at Centre Pompidou

29.10.05

Abécédaire pour Gilles Deleuze at Centre Pompidou

Think of this Readers:

An open democracy of desire for all men and women: a place between the strata of capture and boredom: to create art in whatever form suits them. Poetry then is a way of living, a state of mind, and a form of expression. Acknowledgments to: Tristan Tzara, Antonin Artaud, Bill Bissett, Felix Guattari, Jack Hirshmann, Gilles Deleuze, Jean Genet, Mina Loy, Hugo Ball, Emmy Jennings, Mariam Waddington, Gwendolyn Mackewan, Hans Arp et tant d'autres et tant d'autres.

Imagine altered Desire Images, fous delirante... moving riddles fotos which speak arsey-versey the eyes of versee the multi-verse :

Altered photo of Gilles Deleuze
(© Marie-Laure De Decker)in hat.
in hat

Abécédaire pour Gilles Deleuze
Conférences - débats - rencontres

2 novembre 2005 18h00 - 22h00
Grande salle

Imagine going off Course Readers Listeners

entrée libre

Publications

Deleuze. Un album
Gilles Deleuze a disparu
(He disappeared in the dead of the night _Auden ) le 4 novembre 1995. Dix ans après sa mort, reste de lui
une œuvre considérable, à laquelle commentaires et relectures ne cessent de donner plus d'ampleur : des milliers d'heures de cours enregistrés à Vincennes et à Saint-Denis,
quelques films (L'Abécédaire, une conférence à la Fémis en 1987, une conférence à l'Ircam en 1978, une figuration costumée dans Georges qui ?, une partie d'échecs avec Félix Guattari tournée en super-8…) ; des photos, photos de famille
ou photos volées ; les souvenirs de ceux qui l'ont fréquenté, connu ou simplement entendu et lu, ceux de Heinz Wismann, qui se rappelle une fameuse soutenance de thèse passée en sa
compagnie ou encore ceux de Maurice de Gandillac qui fut son professeur. L'abécédaire pour Gilles Deleuze les réunira autant que faire se peut, en 25 lettres — X et Y formaient le mot "Inconnues" dans l'original..
...

picture all these becomings of persons &

spaces of creation

__________AnD What I most detested was Hegelianism and dialectics.

_____

__________AnD

What I most detested was Hegelianism and dialectics.

And : The question of speed is important and also very complex. It doesn't mean the first in the race: you can be late through speed. Speed is to be caught in a becoming_ which is not a development or an evolution. One must be like a taxi, queue(ligne d'attente), line of flight, traffic jam, bottleneck, green and red lights, slightly paranoid,brushes with the police. To be an abstract and broken line, a zigzag which glides 'between'. The grass and speed. What you misnamed style just now_ charm or style_ is speed.

And :One only discovers worlds through a long, broken flight.

_AnD______as_______for___

As for the method of deconstruction of texts I see clearly what it is, I admire it a lot, but it has nothing to do with my own method. I do not present myself as a commentator on texts.

For me, a text is merely a small cog in an extra-textual practice. It is not a question of commenting on the text by a method of deconstruction, or by a method of textual practice, or by other methods; it is a question of what use it has in an extra-textual practice that prolongs the text ..

Professor D Challanger speaking

in Clinical Critical terms as the hat was in the wind

How else?

How else can one write of those things which one doesn't know, or knows badly? It is precisely here that we imagine having something to say. We write only at the frontiers of our knowledge, at the border which separates our knowledge from our ignorance and transforms the one to the other.
Only in this manner are we resolved to write. To satisfy ignorance is to put off writing until tomorrow -or rather, to make it impossible. Perhaps writing was a relation to silence altogether more threatening that that, which is supposed to entertain with death.
_______________________

Difference and Repetition.