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Johnatan Petterson internet.petterson at gmail.com
Sat Mar 16 13:59:52 PDT 2019

hi again. regarding Guattari and the reference to 3 ecologies,
the question is, given the uncertainty
of Science being still capable to reset
all its concepts and categories, what
are the "social production of new values"
concretely, not in general, as in your quotes, but
in singularities. is your philosophy incapable
to produce these thinking expressions of differences ?
autopoesis is perhaps yet too abstract a word.
both the operational closure & the structural openness of the cell
come from the multiplicities, ie.the fact that there
is an organism.

the fact that perception, contrary to what thought Leibniz,
is not the sign of a simple substances.:
as example, from Leibniz, Monadology (12 and 13):
<<et par conséquent il faut que dans la substance simple, il y ait une
pluralité d'affections et de rapports, quoi qu'il n' y ait point de
parties>><<Mais il faut aussi qu'outre le principe
du changement, il y ait un détail de ce qui change, qui fasse pour
ainsi dire la spécification et la variété des substances simples>>
actually instead than Body without Organs, one should speak of Body with
or Simple Substances with consciousness, or with Parts. & with appetitio !!
but the standard vocabulary of Humanity is not yet conceptually adapted to
apparent contradiction.

besides there is doubt there is really a tendency of the "human body" in
there may not even be a "human body" : this given
 the forces of epigenesy. epigenesy explains for a natural tendency of
the human body towards sensori-motor haptic, audio and visual experiences
(cfr Image Temps and Image
Mouvement, Gilles Deleuze)
yet the "General Consciousness" explains , as in your article, the
perception of a sound
being "unheard of", in spite of being produced within the feelings or the
of the sensori-motion.

<<These shocks are indicators of
forces beyond organic wholeness>> this i reckon only points to common

that is a sensori-motion subject to epigenesis.

yet Sciences want to regulate, the "chaos", or the "data" to constrains
those to integral numbers & that can allow
for measure. Spinoza already disqualified such measure as a sign of a
non full or an inadequate idea.

there are as many sensori-motions organic human wholeness as there are
human beings.
each different, and only through measure being limited in a Plane of
Reference which
constraints the speeds to a constant, or to many constants (like the
"atoms" with each
constant medical specification, example Helium or Hydrogen or Iron) and a
constant of constants.
example the Speed of Light.

the speeds ought to be perceived. and qualified in expressions. that is the
new which is unheard of.

the will which can not find satisfaction in a certain object shall find
inspiration in an impression of hallucination,
yet it does not loose its sensori-motion difference for the matter.
Nietzsche already saw Religion as the one continuation of the
sensori-motion when deprived
of "human" mastery on the "objects" of the senses;  the will which
testifies for hallucination and incapacity
to prove the "object of the senses" corresponding to the common "human",
"scientific",  or general consciousness, shall
be measured and qualified by the latter as "other" than the "norm". yet the
norm wants to remain a variegating sum or constant(s) of constants.


Le sam. 16 mars 2019 à 20:06, Mike Lansing <badger2 at mail2world.com> a
écrit :

> 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.

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