[D-G] La Projétation en Architecture (Vitruve)-

Fri Mar 10 16:40:51 PST 2017

Oh fuck me can you talk about deleuze

I am pining for Harald

On 11 Mar. 2017 1:39 am, "Mike Lansing" <badger2 at mail2world.com> wrote:

> Abandoned Phonemes Found in the Dumpster of the Starship Enterprise
>
> J.  gomi 'waste, rubbish', tawagoto 'nonsense', omoi 'weighty,
> burdensome, oppressive', futotteiru 'overweight' hageshii 'intense,
> violent, crowded',  hageshi ame 'heavy rain' hageshii kotsu 'heavy
> traffic', omoi kokoro 'heavy heart.' J. gota-gota 'trouble, chaos
> gotas-gota o okosu 'cause trouble, chaotically, hapharzardly', gota-gota
> suru be chaotic; be complicated' be crowded, goto 'burglar, robber',
> goto ni 'every, each, gottagaesu 'be very crowded; be cluttered.' Thus,
> in the machinic unconscious, there would be hypercompensation for the
> parasiotic vampirism of capitalist systems.
>
> The asterisk (*) means that it is attested in the literature:
>
> 'hagemasu  < fagemasu ? < *fageymasu  < *panka-Ci-ma-sa (<?) 'encourage,
> inspire'; hagemu  < *fageymu  < *panka-Ci-ma 'spur oneself, strive,
> labor hagesi adj., hakaru  < fakaru  <* paka -ra- 'measure, calculate,
> consult (with)', omoru  <* omo adj. a -ra- 'become heavy/serious' Edo A.
> attested Hn (also NS but not phonetically), omoi 'thought', goma
> 'sesame' Sz, Narada, Izumo, Hiroshima; gomi ? <* nkomi 'rubbish, trash',
> Hamada, Goka-mura, Hiroshima;The bound auxiliary goto 'like' and the
> bound auxiliary adjective goto-si 'is like' that derives from it are
> always DAKU. It is generally ssumed that goto(-ni) 'each, every' was
> voiced (as the phonogram in M 4000 has it),  so that in moto ["] koto ni
> 'on every tree' with the phonogram DITCH the distinction is
> orthographically underdifferentiated. Similar underdifferentiation of
> the dental stop occurs for the particle dani 'even', written ["] tani
> with the phonogram MANY in NS 107 and NS 127.
> ....
> The distinctive hyphen we use to write Hattori's Apostrophe (in those
> cases when it is not neutralized) is a readily removable feast. It but
> rarely turns up within a morpheme and there are many longer words where
> it is never needed; moreover, , even in those words where the boundary
> is called for, it readily drops. Japanese linguists will sometimes write
> /'/ to indicate morphemic boundaries that are not heard at the surface
> level: two morphemes comprise sa(right-angle sign) 'i  'difference', and
> the accent of sa'i (right-angle sign)-do 'degree of difference' as
> contrasted with that of sa (right-angle sign)ido 'side' implies two
> one-mora syllables in the underlying form, but the word ordinarily
> sounds exactly the same as the sa (right-angle sign)i that represents
> several one-morpheme words 'talent, wife' rhinocerus.'....Cf. Sakurai
> (1978) says also that the modern heavy syllables developed (by uniting
> two one-mora syllables) sometime during the Muromachi period. On the
> possibility of earlier subsyllabic moras, see section 52.'
> (Martin, The Japanese Language Through Time)
>
> <-----Original Message----->
> From: Mike Lansing [deleuze-guattari at lists.driftline.org]
> Sent: 3/10/2017 12:54:35 PM
> To: deleuze-guattari at lists.driftline.org
> Subject: Re: [D-G]La Projétation en Architecture (Vitruve)-
>
> The womo-ku to mo 'even being heavy' we suggest has not only been
> miniaturized, but has developed in the machinic unconscious, as in a
> dream wherein the legs are heavy and movement is difficult.
>
> <-----Original Message----->
> >From: Mike Lansing [badger2 at mail2world.com]
> >Sent: 3/9/2017 1:12:04 PM
> >To: deleuze-guattari at lists.driftline.org
> >Subject: Re: [D-G]La Projétation en Architecture (Vitruve)-
> >
> >MU p. 217, Figure 10 Diagrammatic cycle of deterritorialization, shows
> >'substance' in between form and matter, with a dotted line as
> >semi-circle below it. Architects know that a city rots from the inside
> >towards its periphery.
> >
> >'the loops of the "capture of form" (of formalization) tend to be
> >miniaturized and to indefinitely accelerate their cycle (Fig. 10)
> >Petli zakhvata formy (oformleniia) klonat' byt' miniaturnykh I
> >beskonechno u skorit' ikh tsikl. (Fig. 10)
> >
> >.....elementary quanta....assimilated to infinitesimal black holes,
> >substituted for ancient modes....'
> >
> >Morphology of Forms
> >
> >'The Japanese-Portuguese dictionary gives "womo = /womoo/ <----omo-[ku]
> >'being heavy', but Esopo (1593) has "womoquotomo" (413) = womo-ku to mo
> >'even being heavy'. For goto- 'like' the Portuguese attest only the
> >fossilized forms gotoqu [-ni] = goto-ku (ni) and gotoqi-no = goto-ki
> no.
> >The expected forms *gotoi <----goto-[k]i and *gotoo (*goto")
> ><----goto-[k]u somehow never developed.*"goto").'
> >(Martin, The Japanese Language Through Time)
> >
> >
> ><-----Original Message----->
> >From: Johnatan Petterson [deleuze-guattari at lists.driftline.org]
> >Sent: 3/8/2017 5:49:06 PM
> >To: deleuze-guattari at lists.driftline.org
> >Subject: Re: [D-G]La Projétation en Architecture (Vitruve)-
> >
> >hi.
> >on page CS298 Guattari
> >after a catalogue of the three spaces which have been explored by
> >Vittorio
> >Ugo:
> >-euclidian space (apollinian)
> >- projective space (morphean)
> >- labyrinth space (dionysian)
> >
> >Guattari does the "énonciation scripturale" of "la projétation
> >architecturale".
> >
> >[from Vitruve to Corbu to Vinci, from the formal angle, to the organic
> >point of vue, to the fractal territorialisation, exploring
> >correspondances
> >between the human body and the habitat]
> >
> >which should promulgate new
> >-potentialities
> >- new universes of references,
> >to begin with the one riding the development of the ethico - aestetic
> >aspects in the building.
> >
> >301p Guattari mentions to that effect, Sartre's "engagement" allowing
> >himself all licence in cartographical methodologies provided they
> relate
> >to
> >a "parachèvement existentiel"
> >and a "surabondance d'être" as sole criterium of truth in his
> >development.
> >
> >best,
> >J.P.
> >_______________________________________________
> >List address: deleuze-guattari at driftline.org
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> >
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