Radio DelEuZe: GolD Finger

29.3.10

GolD Finger

------------------------ And on a incompletely derelated level this quoted patch
of interest and exctig tendency
------------- Did you go Bowling CD?
Yes he did.
On exhibit in the British Museum since 1802 when the English appropriated the stone after Napoleon's defeat, The Rosetta has since embodied a primal scene in the archive of reading and compressed what Deleuze calls "a cloud of virtual images" or possible reading futures that surround "every actual." (Dialogues, Columbia University Press, 1987: 148) Virtuals and unencrypted images that have attached themselves to the stone and its origins coalesce around war and reading: as French excavation and decipherment (Derrida); as global conflict -- Syriana and the bombed out El-Rashid Hotel; as the British Museum, epicenter of vast cultural agencies and mnemonic objects amassed during the age of empire building; and as language learning software sold today at airport kiosks and over the Internet under the name Rosetta Stone.

--------------------------- The cloud is pervasive in the Bond series.A ll apears clear but it aint necessarily so.

Asssssssssszzzzzzzzzzzzzzzzzz h for Mister HitchCoCk
We all know he read Volume 1 of Difference and Repetition and was ever After Inspired!

'These same kinds of transports, signature sign systems, mnemonic relays, and compressed virtualities at work on the Rosetta are at play in Tom Cohen's groundbreaking, densely elusive yet revelatory new study of Hitchcock's cinematic archive.

Hitchcock's Cryptonymies, published simultaneously in two, 'hyperlinked' volumes, Secret Agents and War Machines, "takes 'Hitchcock' as a Rosetta Stone," for "cinema's advent, its accelerating role in a teletechnic revolution, and its presumed death, as if at the hands of new media" (Agents 2). In addition to incorporating this historio-graphic allegory, Cohen's 'Hitchcock' becomes both a planetary, futuristic reading room and a platform for invention, a medium to rehearse what I will call a Nanotechnology of Reading that has implications for critical readers beyond the Hitch canon.

This delicate patch work is From Where? from Scope that 's where.

__________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.