Radio DelEuZe: roots & tubers

2.9.09

roots & tubers

"A visual and auditory tone poem inspired by Gilles Delueze and Felix Guattari's concept of a Rhizomatic mode of knowledge found in their 1980 novel - A Thousand Plateaus - music composed by the director on a mini-hand-pump organ and recorded onto tape player - special thanks to C. Pope for lighting ... "

Made in Nov. 2008 for OCAD

Note the mispelling of Doctor Deleuze's name~
sweet ~ It's quite amusing and poetic this youtube
this TUbEr
RhIZOmaTer
calls
One ThousAnd PlateauS a Novel
(it certainly was novel!eh)

And what better instrument
than
a handpump
its pleats
fattening
unfattening
rechording
and dechording

__________________________
mister rhizome go this way passage then that up the down alley sing with yer anus, ring with yer sinus. One minus is the love'd hat. Pop goes the word, huffed off its strait boff bear.

__________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.