Radio DelEuZe: Part whole dada__

31.1.11

Part whole dada___

Might be easier to track down Hans Richter's Dada Art and Anti Art____ for the painter's view on the dada _______________________________________ an d it quotes in full Arp's Alas our good old Kaspar is dead.... one ofthe first dada poems I ever read

ideas and see Balance Sheet Program for Desiring Machines __

__________ and Guattari et Deleuze 's essay/chapter Balance Sheet Program for Desiring Machines_____________________
____ It is available in Chaosophy __ Felix Guattari Semiotexte __ or in the second edition of AntiOedipus _ French edition __ its printed as a n appendixhttp://www.leseditionsdeminuit.com/f/index.php?sp=liv&livre_id=2013

Soon we'll discuss Dada and the machines ______________Part and whole Parts of wholes__________Pat

of hole.... not black hole

but wholesome whole as in nontotality and parts dont fit. That's dada. That's desire. . Why its cause its

break coupure. But wait duffy what's what here? More soon Anon when this good book this good blog.

____________________________ We're in a rush /its winter cold. But I recomend the Parts and WHoles Section of A/O. And the AntiLogos Chapiter in the Proust book...(the whole and its parts sextion 6 of AnTiOEdipus)

And one can see in Tzara's 1918 Manifesto already the launch of dialectics and its totalizing drives. This was what disgusted Tzara the great ennui he vents against it _________________________________

______________________what were the machines dada was against ? it was against
the closure
the ism
the school

___ preventing the flow

and the machine ________________As in the Man Ray discussed by Guattari and Deleuze in the

and to see the role JuxtapOsition plays in the poesie of the dada poets especially in Tzara's which I know best but in the others too As in Arp and Hulsenbeck

________________________________ cause its a machine

but not mechanical ____________________________________

cause its like a telephone with all the parts Not compOsing a totality but something that works

and th e cover of the Phone is not greater than its parts, it a whole cover but no better but as they say in A/O its just

along side the rest __ it functions __ in this case wholes work as function and that is their 'unifiying role' but

certainly

not one that SubsuMes

the rest

__________________________ because machines / like dada parts of a poem

does not necessarily

fit but do they work

does the poem/piece work

if not does it break

Now deisring mahcines only work whgen they break

cause what works in a poem dont necessarily reflect the technical workings of real machines

_ Now do you see what I mean

We'll talk more soon demonstrating our means by what our saying in what we do as practice _____________________________> meanwhile daily life

and in awe of the events in Egypt ___________________>

___________________________________

__________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.