[D-G] What is the difference between a schizo and a bad poet?

[adriano romero]

I agree with you, Glen.What is left in those non-sensical modes of discuorse is the primary step of creativity: destruction. That is why this seudo-shizo-poetry is oedipical, it is a reterritorialization that emerges from the impossibility to blade micro-logical apreciations. It needs to be experienced the greatness of the event to handle with those creation worlds, and to handle them like a baybe. It seems to be that this chimps are not even camels, they are mimic-monkeys not even bad-cientific-poets, they are paranoic-punchable-egos, but not shizos.
 
Any way, the difference between a shizo and a bad poet is the experiencie of an event.
 
adr 
 

Glen Fuller <g.fuller at uws.edu.au> wrote:
Maybe I am being too harsh, but people seem to confuse using deleuze's 
thought as a synthesising stepping stone to think in creative ways with 
the expression of some alleged creativity in 'creative' and non-
sensical modes of discourse. I have never read something from Deleuze 
or D&G that was more nonsense than sense, that is, more absurdity than 
it is truth, so I am not sure why such people decide that it is an 
appropriate mode and forum for _discussing_ deleuze's work.

Surely there are other places to experiment with expression where it 
would be appreciated. (Like on a blog!!! Where if people are interested 
then they can come to you, rather than forcing people to be part of 
experiments like the worst kind of fascist.) When the chimp entered the 
scene, I thought, great, another monkey schizo-poet.



> Liz,
> 
> I like this way of looking at. But this leads to another question: 
How is the philosopher to suppose to make the move from literature to 
philosophy? I ask this with this in mind: HAven't philosophers done 
quite poorly when dealing with literature of the work of the artist. 
Foucault seems to introduce things into his book on Roussel that he 
actively avoids in his other works (i.e. personal biography); Heidegger 
and his Holderlin fixation,etc.
> 
> thanks
> 
> > 
> > Hello
> > 
> > I wanted to propose an answer. I have just be
> > polishing it so as to add prehaps some clarity to what
> > my feeling are on the question you have asked to all
> > the list.
> > 
> > May-be in the way that the Philsopher had to take the
> > mask of the wise before exposing the new, the concept
> > (instead than carrying figures in the Mundanity of
> > Consumerism?)?
> > The role of the Artist for us is to present the wise
> > in
> > to protect the unconscious Philsopher that can stand
> > in the murky waters (ie."newness") alive (as a Jungian
> > Animus) within the Artist, however "bad" or "good",
> > but in any way not the reverse, as Lucy or whoever he
> > is,
> > seems to be doing in those non-sensical posts that
> > indeed are spoiling my inbox.
> > 
> > Yours
> > Liza Kozner
> > 
> > 
> > --- sid littlefield wrote:
> > > Quite right. There is little doubt that your
> > > e-mail(s) provide for the thought that sparked my
> > > e-mails and your e-mails and my ...
> > >
> > > I will put this question to all in the group (bad
> > > poet and good):
> > >
> > > How are we to tell the new? The new from the mundane
> > > in the new's clothing?
> > >
> > >
> > > When our threats and insults fade, what thought have
> > > we shared?
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-- 
PhD Candidate 
Centre for Cultural Research
University of Western Sydney

Read my rants: http://glenfuller.blogspot.com/

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