Radio DelEuZe: __________1837: Of the Refrain

8.1.10

__________1837: Of the Refrain

The question then

became whether molecular or atomic "populations" of all natures (mass

media, monitoring procedures, computers, space weapons) would continue

to bombard the existing people in order to train it or control it or

annihilate it—or if other molecular populations were possible, could slip

into the first and give rise to a people yet to come.

As Virilio says in his very
rigorous analysis of the depopulation of the people and the
deterrito-rialization of the earth,

the question has become: "To dwell as a
poet or as an assassin?"
( the time of assasins dear Arthur has passed
and notpassed ) We passed our love
passing it on ~

The assassin is one who bombards the existing
people with molecular populations that are forever closing all of the
assemblages, hurling them into an ever wider and deeper black hole.

The
poet, on the other hand, is one who lets loose molecular populations in
hopes that this will sow the seeds of, or even engender, the people to

come, that these populations will pass into a people to come, open a
cosmos.

Once again, we must

not make it seem as though the poet gorged on metaphors: it may be that the

sound molecules of pop music are at this very moment implanting here and
there a people of a new type, singularly indifferent to the orders of the

radio, to computer safeguards, to the threat of the atomic bomb.

In this

respect, the relation of artists to the people has changed significantly: the
artist has ceased to be the One-Alone withdrawn into him- or herself, but
has also ceased to address the people, to invoke the people as a constituted

force.

Never has the artist been more in need of a people, while stating most
firmly that the people is lacking—the people is what is most lacking. We
are not referring to popular or populist artists.

Mallarme said that the Book

needed a people. 

Kafka said that literature is the affair of the people.

Klee said that the people is essential yet lacking. Thus the problem of the artist is

that the modern depopulation of the people results in an open earth, and by

means of art, or by means to which art contributes. Instead of being bombarded

from all sides in a limiting cosmos, the people and the earth must be

like the vectors of a cosmos that carries them off; then the cosmos itself will

be art. From depopulation, make a cosmic people;...> go to plateau for ... _ more molecule.

_______________So poetry the molecule. Not the bomb not the gorge or distending death of its supreme ally the antilife cursehearse.__ the middle pace.

_____So doctor D and Felix talking in the becomings the ir rival to tomtomtalk and the word rushing out came along its people silently summoned .

_------------------------------So if you must get a sore back to do your art
better sore backs and loving knees than hatred___

________
Our broadcast molecule ~

______________

__________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.