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

Fri Mar 10 20:36:19 PST 2017

Com'on Martin.
I can tell you: all Your Scryptic Unconscious needs is a Clown,
pues, I can try to mimick this purpose!
(of course it will be an average similicrum of Harald)
Did you knowHarald and I went together with a friends in 2004 to a cafè if
I remember well, it was in Paris,
where there was a first stage, a circus, Monsieur Loyal was whisperin' in a
mike with loud murmurs blurbs in the City'huge speakers!
then a floor with plenty of poorly re-furbished housings, with all mirrors
shattered across near our feet,
it was somehow where people where exchanging beads, like they were taking
with a beer, a vodka a pernod in hand,
and they were all laughing about a mysterious yet coveted
and upstage freezing room:
there wherepeople where eating green icecreams. actually my friends had no
concerns about it, they went straight
to this first floor, and they were being given
with a view and a unique chance to exhale this green shit thru a black hole
opening on a mouth which was  hidden in walls carved with my teeth gnawing.
now it seems we don't know againwhy I was eating the cream from this
Augustine Herald, and so
to me it seems right now i am with you,  in this room, and am being asked
by your beckon,  if i can
become a mouth again. become this deleuzian mouth and eat some green
plumpudding, and be offered more. I wouldn't like I had not done it. I
don't regret it. Ney,I am sorry.
I ask whether is there something sick with me Martin??
if you think so, do me a favour, allow me your forgiveness è

ton ami Pierrot.

2017-03-11 1:40 GMT+01:00 martin hardie <martin.hardie at gmail.com>:

> 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
> > >Info:
> > >http://lists.driftline.org/listinfo.cgi/deleuze-guattari-driftline.org
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> > >
> > >
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