Radio DelEuZe

25.8.10

________________________________Call ~

"Call the strings or
rods that move the puppet the weave. It might be objected that its multiplicity
resides in the person of the actor, who projects it into the text.
Granted; but the actor's nerve fibers in turn form a weave. And they fall
through the gray matter, the grid, into the undifferentiated... . The interplay
approximates the pure activity of weavers attributed in myth to the

Fates or Norns." An assemblage is precisely this increase in the dimensions
of a multiplicity that necessarily changes in nature as it expands its
connections. There are no points or positions in a rhizome, such as those
found in a structure, tree, or root. There are only lines. When Glenn

Gould
speeds up the performance of a piece, he is not just displaying virtuosity, he

is transforming the musical points into lines, he is making the whole piece
_________________________________________________proliferate.

Rhizome 9

__________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.