Radio DelEuZe: imper

4.9.08

imper

imperfection to imperfection. the artist works. from imperfection to imperfection to another imperfection. last week. they spoke on radio france culture about guy debord. i was too hasty perhaps on my brief comment about him. ive always puzzle that he and Gherasim Luca, killed themselves one year before Deleuze. 1994 fall. november 1995. harsh falls they were.
(

In 1994, he was expelled from his apartment, officially for hygiene reasons. Luca, who had spent forty years in France without papers, could not cope. On February 9, at the age of 80, he committed suicide by jumping into the Seine.)

nowhere in deleuze or guattari have i come over one reference to debord. i suspect? what nothing really. perhaps they knew his work and disagreed? but this is no t preciise or based on fact. however the society of the spectacle wa s maybe too limited a concept.

maybe they agreed with everythin g he wrote. maybe there were differences between
his views as a Situationist and theirs about Mai 68.

who knows.
but from i read of debord's idea of the spectacle. is perhaps. its too hard and fast. and the lack of desire in the analysis leaves it cold and hard.

not schizo enuff and not desirous enuff

__________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.