Radio DelEuZe: Stravinski par Stravinski

2.4.10

Stravinski par Stravinski

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I keep coming back to Stravinski ~ So programming from France Vivace and a clip of the Rite of Spring from 2005 ~

depuis 16:00 Programme musical Stravinski par Stravinski (5) Par Olivier Le Borgne 2009V8830E0004 rediffusion du 03.02.09 *

17:18 Igor Stravinski Monumentum pro Gesualdo di Venosa ad CD annum : I. Asciugate i begli occhi (Madrigale XIV, Libro quinto) / II. Ma tu, cagion di quella (Madrigale XVIII, Libro quinto) / III. Belta poi che t'assenti (Madrigale II, Libro sesto) Orchestre Symphonique Columbia Igor Stravinski, direction réf : SONY CLASSICAL SM2K 46 300 * et à... 17:25

Igor Stravinski Orphée : Ballet en trois tableaux (Enregistré le 20 juillet 1964 à Chicago, USA) Orchestre Symphonique de Chicago Igor Stravinski, direction réf : SONY CLASSICAL SM2K 46 292

France Vivace

__________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.