Radio DelEuZe: ouR Dada is partOut

19.12.08

ouR Dada is partOut

Six Feet Over - an Exhibition by Heesco

“The task of painting is defined as the attempt to render visible forces that are invisible. This is evident. The force is closely related to sensation: it is enough that a force be exerted on a body, that is, on a specific point of the wave, for there to be sensation.” - Gilles Deleuze

Pull up. The artist hangs as he lifts his body up. He carries his own weight. The force of his suspended weight, the pressure, is rendered visible on his face. His cheeks expand, his jaw clenches and his eyes and brow scrunch up. His body descends. He lifts himself back up. Tightening. Then releasing. The artist moves but remains static. Dangling there he lifts his head high for a moment before dropping down again. He stays there in that same place. Struggling.

from the
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NigHT

__________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.