[D-G] hypertext

[Mike Lansing]

Blurring the Boundaries Between Infratones and Chaosmotic Rhythm

'Ecologies avec Guattari....Guattari will thus take ecological theory
through Bateson and Varela and beyond into a social praxis that has
also called an "ethico-aesthetic paradigm" (the subtitle of his book,
Chaosmosis). Social practices, personal practices, and environmental
practices are indeed mutually influencing, but more to the urgent task
at hand, Guattari repeatedly insists in several books that scientific
knowledge is not the end point, but only the beginning to assist in the
creative activity of making new ways of life, a social cultivation of
new singularities linked to new solidarities with open, multiple,
transversaal connectors. Ecological practice needs empirical sources of
knowledge about the natural world, but then this factual knowledge is
not the fundamental ground of all human values, and must enter the
complex social production of new values, becoming part of a larger
ecology of ideas and emerging autopoetic "assemblies of enunciation" as
the move across the social formation....He often cites and alludes to
two sources: Gregory Bateson and the more recent cognitive biology of
Maturana and Varela (Autopoiesis and Cognition, 1980), which extends
and complicates the seminal work of Bateson with their theory of
"autopoesis" or the self-organizing, self-producing capacity of living
systems such as a simple cell when it obtains "operational closures"
but structural openness.'
(Heroux E, Guattari's Triplex Discourses of Ecology, in An [Un]Likely
Alliance: Thinking Environment[s] with Deleuze and Guattari, p. 183)

We described the invention of the electric saxophone in 1987 to Selmer
Corporation. This invention linking saxophone to synthesizer, also
quite by serendipity, allowed woodwind players the ability to produce
chords from sax fingering to the synthesizer. Selmer wrote back to say
that they would stick to their original, traditional instrument-making,
though what evolved was MIDI controllers for woodwinds by such
companies as Roland and EWI. These new controllers have removed some of
the keys from the original invention and still do not free woodwind
prisoners to explore the world of chord making, which guitarists and
pianists have always had.

But when we produce an electric switching harness that can fit onto a
didgeridoo that is then connected to a synthesizer, something radical
mutates the assemblage: the breaking of the mind into at least two
parts whereby the musician, playing a melody and chords on the
synthesizer is also given the ability to play a rhythm-bass drone line
simultaneously. This is a challenge for any musician, and in addition,
when we apply amino acid music to sheet music, we find that four lines
of the traditional musical staff can be eliminated, with the octave
line only as a reference as the letters are read from left to right.
Tempo and timing symbols can be left up to each individual, and, why
not?....this music nature has already written. We can "hear" the sound
of a cancer gene as well as its mutations, and the first one we tried
to "listen" to proved that nature had already inserted an
ominous-sounding chord progression precisely at the point of a
mutation, whereas the "normal" sequence did not have this mysterious
isoelectric-driven phenomenon. Even though this may be a novelty,
humans have much yet to explore.

In the same volume, then, we invoke takes on rhythm if we are to
explore the electric didgeridoo more fully:

'Sonocytology is the study of cellular vibrations that, in the future,
could arguably offer a closer understanding of the body and its
tendency for disease....Neurological studies in progressive nerve
deafness, argue for a direct relation between sensorial deafness and
autogenerated auditory hallucinations. Neurologist Oliver Sacks argues
that audio hallucinations are often not psychotic, as in schizophrenia
patients, but neurological. Deprived of any sensory input, a body
autogenerates spontaneous activity in the form of 'release'
hallucinations, ranging from loud tinnitus to entire musical
symphonies....The coupling of rhythm-sensations between the different
levels of the resonant blob is a scrambler of form consistent with the
concept of topology. The topological tension between perception and
hallucination is exposed in certain types of experience (as in the case
of audio hallucinations) to allow for an acute conception of one's own
body as "an experiment in nature through an auditory prism (Sacks p.
86) Rhythmic hallucinations constitute a mode of feeling that baffles
ordinary experience. They reveal a body on the edge between lived and
non-lived modes of experience that is closer to affect than sensory
perception. The affective potential of a body (its power to affect or
be affected) leaks into actuality through the emergence of an auditory
defect. In hallucinating new unheard-of rhythms, a body coincides with
its own potential and intensifies it. Consciousness is doubled in the
process and amplified, as a body's different mores are simultaneously
superimposed. The shock of auditory seizures and hallucinations in the
moment of affect passing into actuality. These shocks are indicators of
forces beyond organic wholeness "that lie outside or below the level of
conscious experience" and have a life of their own (Sacks, 232). Defect
pointing to affect.'
(Ikoniadou E, Rhythmic Topology: The Affective Stretching of Nature, in
An [Un]Likely Alliance, pp. 1667)

In politics, the Impossible Trident and its ambiguities of perception
is counterpart as a graphic camouflaged topology. 

<-----Original Message-----> 
>From: Johnatan Petterson [internet.petterson at gmail.com]
>Sent: 3/16/2019 8:56:19 AM
>To: deleuze-guattari at lists.driftline.org
>Subject: Re: [D-G] hypertext
>
>yes Johnny does like the idea.
>isn't there the Carbon14 archeology decay iso movement
>which could blur the picture and introduce infratones?
>but like in physics we deal with integral numbers and reverse limits,
>that could help to see "in focus", which is so important in sciences.
>gradually have a better picture of the universe.
>your saxo-amino acid is like really re-encoding the composition plane
unto
>a reference plane.
>but as said, if the plane of reference becomes more "in focus", that
is,
>across the use
>of ai models, becomes more unitary
>what do you think of this question, in what is philosophy?
>deleuze and guattari stand against the unification of sciences,
probably
>they stand so much
>in favor of empowering the margins of sciences, which at the time
(1991)
>were fractals and chaos theory.
>(gleick) : sciences because of ai modelisation and time of testing
theories
>/ answers from materials,
>sciences could well be able one day, to propose a Unified theory, and
to
>tell how many atoms, and which ones, in each throw of dice,
>and with how/what decaying isotopes
>compose the amino acids, and how many amino acids compose for example
the
>idea of the table of conversion
>of amino acids in musical integral tones. same with electrons, and the
risk
>is just to see all this table being
>reconfigured if smaller particles than the ones tested like smaller
than
>the higgs bosson, if these particles testify from future discovery
>before Science achieves Unification, and a new table of particles,
require
>for a new
>Mendeleev table. so that hydrogen might become like the ether, exit
out of
>the reference table. don't you see this risk, what do you think about
that?
>
>
>
>Le jeu. 14 mars 2019 à 15:57, Mike Lansing <badger2 at mail2world.com> a
>écrit :
>
>> If there is a hypertext that has already been written, then D&G
>> musicians may be interested in reading it: the music of amino acids.
>> Some representation was necessary to assign the amino acids to the
keys
>> of a saxophone, there bering 20 basic sax keys just as there are 20
>> basic amino acids. The notes on the right are concert pitch, the
>> letters on the left are amino acids. They represent the isoelectric
pH
>> (power of hydrogen) of each amino. Because each is a unique number,
we
>> arranged them according to the sequence from the highest to lowest
>> notes, starting from the highest note (the highest pH):
>>
>> R E flat
>>
>> K D
>>
>> H C sharp
>>
>> P C
>>
>> A B
>>
>> L B flat
>>
>> G A
>>
>> V A flat
>>
>> I G
>>
>> W F sharp
>>
>> M F
>>
>> S E
>>
>> Y E flat
>>
>> Q D
>>
>> T C sharp
>>
>> F C
>> _________________________________________Octave Line
>>
>> N B
>>
>> C B flat
>>
>> E A
>>
>> D A flat
>>
>> Once these are learned, any amino acid sequence in the Universe can
be
>> played as music. This system can also be "translated" to piano, etc.
>>
>>
>>
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