Radio DelEuZe: terrrrrrrrrrrrrrrrrrrrrrrrbbbbbbebebebelle continued

3.2.10

terrrrrrrrrrrrrrrrrrrrrrrrbbbbbbebebebelle continued

It resumes to ~

Gilles Deleuze: What it is is an interior border that echoes the exterior borders. Together they make up the difference of intensity between which everything happens and communicates: neglecting the margin and forgetting the hole; and thus they echo one another. Forgetting to paint, neglecting to paint, the canvas between inside-outside, a canvas-drum, heard as a sign of painting, an a-signify-ing sign. The hole-border is physical reality. It is Reality. Oh, what beautiful things physicists are saying these days, concerning border-phenomena and hole-noumena. We would have to be scholars to understand it. Long live Pauli, long live Fermi. But we can't understand it. So what, that's even better, we'll do the same. The hole-particles and the border-particles are in motion.

Stefan Czerkinsky: We're not finished. After you paint the canvases, you create a simple currency: from objects, verbs, gestures, materials, etc. Then you arbitrarily
establish arbitrarily equivalent relationships between the canvases and the stuff you will use as money. -
For example, I'll make a few objects or utensils: wood in cotton, like a baby doll; add metal ligatures to make cloth hands; add blue metallic plastic, beveled and split; stuff hair in the splits, cement it with clay: some of them are pretty big, and others really small. I put them all in a suitcase, a metal lunchbox, and take them to some kids playing in a public garden. They always get a kick out of them. The series and different sizes make them laugh. So then I arrange all the little family-money-objects in relation to the violet canvases. They are fetishes or key-holders for the canvas-holders, the canvas-tents, the canvas-icons. Now it makes a large circuit. You have the restricted circuit: frame-canvas-border-hole; and you have the larger circuit: its equivalence with another system of signs, i.e. the little object-utensils. Ideally, you would pay for the canvases with the little objects, and make the little objects with the canvases. You would have to steal one or the other or both at once. The question can be asked: Were my utensils and my canvases nothing but money all along? That's what's terrible: the virtuality of money.

End

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Paris etcetera

1975

--------trans.

Michael Taormina

Semiotexte foregin agent series

__________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.