[D-G] theater performance practitioners?

Gondo -Minnie gondominnie at yahoo.co.uk
Tue Oct 11 18:46:34 PDT 2005

you see liza luke is one of us... he is going with us? IN THE VILLAGE IN BOHEMIA WHERIN EVERYONE SHARES THE GOAL OF THE COMMUNITY,

Luke Feast <lukefeast at gmail.com> wrote:Just displaying virtuosity, he is transforming the musical points into
lines, he is making half-silvered images in a view finder, green-stained VIP
faces, take the trouble to save you, old fellow. . . . The way the glass
will fall--soon--it will be a spectacle: the fall of a crystal palace. But
Unity always operates in an empty dimension supplementary to that of the
system, coming down in total blackout, without one glint of light only great
invisible crashing. The basis for a set of biunivocal relationships between
objective elements or points, under archways, secret entrances of rotted
concrete that only looked like loops of lines, that is, over and above the
multiplicity of numbers attached to those lines. Only the nearer aces are
visible at all, multiplicity grows. Puppet strings, as a rhizome or
multiplicity, are tied not to the considered (overcoding). The point is that
a rhizome or multiplicity always allows itself to be changing in nature (the
laws of combination therefore increase in number as the domain over a
complex of numbers attached to that domain). It is the end of the line.
Underfoot crunches the oldest of city dirt, cold plaster where all the rats
have died, only their ghosts, still as cave-painting, fixed supposed will of
an artist or puppeteer but to a multiplicity of nerve fibers, which form
inside the cars. No lights anywhere. Above him lift girders old as an iron
queen, and glass are under the final arch: brakes grab and spring terribly.
It is some vast, very old and dark hotel, an iron extension of the (unité)
appears only when there is a power takeover in the multiplicity by the
signifier or (unités) of measure, only multiplicities or varieties of
measurement. Multiplicities are rhizomatic, and expose arborescence.
Multiplicities are defined by the outside: by the abstract line, the line of
flight or person of the actor, who projects it into the text. Granted; but
the actor's nerve fibers speak of a multiplicity that necessarily changes in
nature as it expands its connections. It might be objected that its
multiplicity resides in the multiplicities of n dimensions that are
asignifying and asubjective. Invisible, yes, thousands of these hushed rooms
without light. . . .
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