[D-G] Automation from the Souls of Artists.

[Mike Lansing]

We must continue Bogue's excerpt in order to arrive at the point where
Messiaen not only has introduced the dualism of the One but then
proceeds to negate bergsonian triplicty of flux by introducing god's
violence, the precursor to any sacrifice, the precursor to the false
(Bergson's essay on False Recognition) perception of the Ambiguous
Trident (blivet):

'Messiaen's concept of "rhythmic characters" ("personages
rhythmiques"), which Deleuze and Guattari cite in Mille plateaux, may
be seen as an extension of the notion of added values. By progressively
modifying a figure through the addition or subtraction of rhythmic
values, the composer can develop "personages rhythmiques" whose dynamic
relationships are like those of characters on the stage:

'Let's imagine a scene in a play between three characters: the first
acts in a brutal manner by hitting the second; the second character
suffers this act, since his actions are dominated by those of the
first; lastly, the third character is present at the conflict but
remains inactive. If we transpose this parable into the field of
rhythm, we have three rhythmic groups: the first, whose note-values are
always increasing, is the character who attacks; the second, whose
not-values decrease, is the character who is attacked; and the third,
whose note-values never change is the character who remains immobile.'
(Samuel 37)

The progressive augmentation of r diminution of values in itself is not
an uncommon compositional technique, but in Messaien's hands it becomes
a complex and original mode of musical development. Messiaen handles
rhythmic units as if they were living entities, and as the table of
fourteen basic augmentations and diminutions in Technique de mon
langage musical attests, his conception of the possibilities of
rhythmic cells as generational components is far in advance of most of
his contemporaries.....Messiaen's third basic rhythmic innovation is in
the use of "non-retrogradable rhythms," which may be defined simply as
palindromic rhythmic patterns with a central common value. Again,
Messiaen's technique is not unheard of in other composers, but the
palindromes he creates are generally much more complicated and
irregular that those one meets in others' works.....for instance....the
last three notes are the retrograde of the first three, the two
three-note units framing the central value of the quarter note tied to
the sixteenth. Group B is also retrograde of group A. The rhythmic
structure is far from conventional, the values of the measure falling
into sixteenth-note groups of 7,5 and 7, the entire passage functioning
as a measure in 19/16 time. Such non-retrogradable rhythms form closed
units that Messiaen generally either uses as rhythmic pedals or
develops through augmentation of the outer units. As Messiaen observes,
one senses in these rhythms "a certain unity of movement (where
beginning and end are confused because identical)," a unity of movement
that discloses a time at once circular and reversible.'

Bogue-Messaien have described the antinomy of the impossible trident, a
universal (unity-desiring) symbol of misperception and deception.


<-----Original Message-----> 
>From: Mike Lansing [badger2 at mail2world.com]
>Sent: 3/17/2019 12:57:32 PM
>To: deleuze-guattari at lists.driftline.org
>Subject: Re: [D-G] Automation from the Souls of Artists.
>
>You have pointed to why we think the Impossible Trident is being
used
>against the voting U.S. prisoners as a Democratic socialist deception,
>as a decoy.
>
>Firstly, we translate your Liebniz excerpt below as....'I take it for
>granted that everything to be created is subject to change, and
>therefore the Monad created as well, and that change is continual in
>each.' We believe that indeed it is the basis for the spiritual
>automaton, it is the basis for theogonic repetition and reproduction
>that keeps the prisoners hostage within Pimp Jaba's harem and
>protection-racket prison called religion.
>
>To further plumb the deceptions used against Homo sapiens, we use
>Bogue's (awful) example of Messaien as musician in Genosko's Deleuze
>and Guattari: Critical Assessments of Leading Philosophers, pp.
>240-254, Rhizomusicology: '....Although Deleuze and Guattari do not
>propose a new technical vocabulary for musical analysis (per se
>[italics]), they do offer a means of construing music as an open
>structure that permeates and is permeated by the world, a reading of
>the cosmos and music not as mechanical and mathematical but as machinic
>and rhythmical -- what one might call, with a certain Panglossian
>bravura, a "rhizomusicsomology." Chief among those who inspire Deleuze
>and Guattari in this enterprise is Oliver Messaien, whose remarks on
>rhythm and birdsong provide several of key concepts in "De la
>ritournelle.' My purpose in this essay is to outline the basic features
>of Deleuze and Guattari's rhizomusicosmology, and then to suggest some
>ways in which Mille plateaux and the musical and theoretical works of
>Messaien mutually illuminate one another. My object is not to identify
>sources or trace influences, but to describe the process of "becoming"
>that takes place between Deleuze-Guattari and Messaien -- one that is
>paradigmatic of the "encounters" that generate the unpredictable
>theoretical developments of Mille plateaux.
>....
>Musicorhizonomy....But obviously what draws Deleuze and Guattari to
>Messaien is the composer's dedication to experimentation in all the
>parameters of musical expression. Deleuze and Guattari call for a music
>that puts in continuous variation all components," that forms "a
>rhizome instead of a tree, and enters the service of a virtual cosmic
>continuum, in which even the holes, silences, ruptures and cuts have a
>part." (MP 121) In this regard, Messaien's music is exemplary. As early
>as 1944, Messaien spoke in his composition classes about the
>limitations of the Second Viennese School, in whose works pitch
>structures alone are investigated while conventional rhythmic and
>formal conceptions remained unexamined (see Golea 247). Throughout his
>career, Messaien has experimented with rhythm and harmonic modes, and
>in his works since Mode de valeurs et d'intensites (1949) he has
>explored various serial and modal approaches to dynamics, timbre,
>duration and other compositional components. One of the areas of most
>intense experimentation in Messiaen's music is rhythm. Rhythmic music,
>he states, "is music that scorns repetition, straight-forwardness and
>equal divisions. In short, it's a music inspired by the movements of
>nature, movements of free and unequal durations" (Samuel 33). For
>Messaien, as for Deleuze and Guattari, rhythm and meter are
>antithetical concepts, and what passes for "rhythmic music" (jazz,
>military marches) he sees as the negation of true rhythm. Messaien
>defines rhythm as "the change of number and duration.":
>
>'Suppose that there were a single beat in all the universe. One beat;
>with eternity before it and eternity after it. A before and an after.
>That is the birth of time. Imagine then, almost immediately, a second
>beat. Since any beat is prolonged by the silence which follows it, the
>second beat will be longer than the first. Another number, another
>duration. This is the birth of Rhythm.'
>....
>'
>
>Is the reader quite sure that Guattari, who wrote on birdsong before
>Deleuze did so, was actually influenced by this Catholic mafia
>musician-convert? Giattari himself said that hios project was radically
>atheist, and we certainly won't take that for granted. Here one can see
>just where Messaien smuggles in his god as first-cause violence,
>because Messaien is incorrect that the second beat is longer than the
>first, which is only the perception of his DNA (sourced from the crusty
>lips of a volcano, the original Mimetic Desire), and which concept
>links to the deceptions involved in perceiving Bernie Sander's as the
>Impossible Trident, as we will show, forthcoming.
>
>
>
>
><-----Original Message-----> 
>>From: Johnatan Petterson [internet.petterson at gmail.com]
>>Sent: 3/16/2019 6:46:36 PM
>>To: deleuze-guattari at lists.driftline.org
>>Subject: Re: [D-G] Automation from the Souls of Artists.
>>
>>hi again again Mike,
>>
>>i have to quote this from Monadology 14
>>as it answers from a body of text which Spinoza thought to
>>not mention when talking about the Mind of Things and the Mind of
>Animals:
>>
>><<L'état passager qui enveloppe et représente une
>>multitude dans l'unité, ou dans la substance simple,
>>n'est autre chose que ce que l'on appelle la Perception,
>>qu'on doit bien distinguer de l'aperception ou de la Conscience, comme
>il
>>paraîtra dans la suite.
>>Et c'est en quoi les Cartésiens ont fort manqué, ayant compté pour
>rien les
>>perceptions
>>dont ne s'aperçoit point.
>>C'est aussi ce qui les a fait croire que les seuls Esprits étaient des
>>Monades,
>>et qu'il n'y avait point d'âmes des Bêtes ni
>>d'autres Entéléchies; et qu'ils ont confondus avec
>>le vulgaire un long étourdissement
>>avec une mort à la rigueur,
>>ce qui les a fait encore donner
>>dans le préjugé scolastique des âmes
>>entièrement séparées et a même confirmé
>>les Esprits mal tournés dans l'opinion de la mortalité des âmes.>>
>>
>>
>>yea, yet ok it seems relevant for Leibniz that consciousness is
>relevant
>>to the internal feeling of the monad and the perception
>>is relevant to the exterior environment of the monad, and perception
>which
>>is not constant.
>>
>>a perception that we do not perceive thus causes
>>the opinion of the "Cartesians" believing that
>>Beasts have no Consciousness, according to which
>>the Details changing in Perception have no value
>>and they are indifferent in the Beasts. He later ascribes to Memory
>>some peculiarity to the Sciences.
>>I guess it is worth mentioning that the Arts have thus
>>all interest in multiplying the Sources of Perception
>>in the Arts (in the medium, and the collection of medium by the Arts)
>>if it is true that they have parts that are non-machinic.
>>teeth are divine machinery for Leibniz.
>>That is if Mankind wants its perfectibility.
>>Yet what Artif it comes NOT composed of non-machinic parts ad
>infinitum,
>>after all, no? Fernand Leger at the beginning of Micropolitic and
>>Segmentarity
>>is a painting with loads of light and artificiality, right? That is a
>>disjunctive function that ought to be synthesized !
>>This assertion that certain parts in an Artistic medium are
>non-machinic,
>>in Leibniz, ensues from his axiom namely that <<Je prends pour 
>accordé
>>que tout être créé est sujet au changement, et par conséquent
>>la Monade créée aussi, et même que ce changement
>>est continuel en chacune.>> (Monadology 10)
>>Is that the base for the principle of the Spiritual Automaton
>>which Deleuze later applies to both Leibniz and Spinoza?
>>Leibniz has simplified the version that is exposed in Spinoza
>>that there are distinctions based not on substance they are based on
>rest
>>and movement and speed and slow.
>>The change is not "continuous" in Spinoza. Hence the difference with
>>Details of Things which change which make "so say
>>the specification and variety of simple substances".
>>At the contrary, a stress by a philosopher to Art creating
>>Affect-Relations & Perceptions within Multiplicities of non-machinic
>>(spiritual?) Automata would help the perfectibility of Mankind's and
>>re-integrate within the one Artist as Spiritual Automaton, the
>>perfectibility of Mankind's Central Memory
>>which is the Science of Continuities and Breaks.
>>
>>Best,
>>Johnny
>>
>>
>>PS
>>by reading your last quote I am quite worried about the unique way the
>>Philosophers
>>like Guattari or Deleuze have gained such powerful influence in
>>all the spectrum of society lately, it's a bit sad, no?
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