Radio DelEuZe: Jackson Pollock__ Via Pirate ReSearcher Corry Shores vi..a Deleuze

5.2.10

Jackson Pollock__ Via Pirate ReSearcher Corry Shores vi..a Deleuze

Your synthesis of disparate elements will be all
the stronger if you proceed with a sober gesture, an act of consistency,
capture, or extraction that

works in a material that is not meager but prodigiously simplified, creatively
limited, selected. For there is no imagination outside of technique.
aTp 344-5
(of the refrain)

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-----the video included is an excerpt as i was inabled to uplink more--------------------------------------------

Back in January PIrAte ReSearcher ExtraOrdinaire ___Corry Shores wrote a terrific text which he blogged and which is also a part of a larger work he is doing ___________titled:

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"Do Posthumanists Dream of Pixelated Sheep?

My own brain _ less pixelish and less coherent completly bifurcated and debouched as it is schiziotextish deterritoiralizing ....

has been much taken with the scattered

sightings of paintings by Jackson Pollock.

______Pirate
______
Corry summarizes Deleuze ideas and
brings his own observations to bear
on the subject _ No pun intended.
the Subject of the Painting and the Painted

(the subject of digital/analogical
smooth striated?)

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__________ so then: after glancing at this cut and paste_____________

voila_ finally I'd suggest going off and reading the full post.

"By contrast, Deleuze finds analogical modulation inaction painting, in which the painter expresses a chaotic bodily flux. Techniques of this sort include scrubbing, sweeping, and wiping the wet paint, or throwing paint on the canvas. Here the hand is free to express itself with involuntary movements that create chaos on the canvass rather than controlled forms, which reduces the whole painting to catastrophe.

By letting the thrown paint fall in its own way, and by letting it splatter beyond the edges of the canvass, the action painter almost completely submits the painting’s creation to chance. In Jackson Pollock’s drip paintings, for example, we see the dominant role his hand plays in creating the chaotically arranged splatters on his canvass, which is laid horizontally on the ground and in the middle of a wider distribution of drips."

Here, nearly every part of the canvass has equal probabilities for what may be placed in them, because, as is especially the case with thrown paint that falls outside the borders, no section of the painting is oriented by a center and edge of the canvass.

In these paintings, there are no delimitations, and lines continually and randomly change their directions.[xxxvi]Below is one example, Pollock’s Untitled (Green Silver), 1949. (Color image found on panel beside page 38).

Just as was the case for language and replication, analogical communication functions by means ofmodulation, which is a continuous variance of some feature. The force Pollock employs to throw the paint is revealed in the way it spatters, with greater force making longer more slender imprints, for example. Hence, analogical aesthetic communication has the features of smoothness, sensitivity, and dimensionality that we earlier discussed."

from Corry Shores : "Do Posthumanists Dream of Pixelated Sheep?

Mental Uploading under Deleuzean Critique"

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__________AnD What I most detested was Hegelianism and dialectics.

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__________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.
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Difference and Repetition.