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

Mike Lansing badger2 at mail2world.com
Sun Mar 17 12:27:17 PDT 2019

One can watch as Bogue explains "added value" in this youtube video at
timepoint 17:48.

Oliver Messiaen and Becoming Bird

The reader may also ask as did John Beasley-Murray: "What is the value
at the point of exchange?"

<-----Original Message-----> 
>From: Mike Lansing [badger2 at mail2world.com]
>Sent: 3/17/2019 2:16:45 PM
>To: deleuze-guattari at lists.driftline.org
>Subject: Re: [D-G] Automation from the Souls of Artists.
>We must continue Bogue's excerpt in order to arrive at the point
>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
>>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
>>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
>>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
>>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
>>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
>>atheist, and we certainly won't take that for granted. Here one can
>>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
>>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
>>><<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,
>>>paraîtra dans la suite.
>>>Et c'est en quoi les Cartésiens ont fort manqué, ayant compté pour
>>rien les
>>>dont ne s'aperçoit point.
>>>C'est aussi ce qui les a fait croire que les seuls Esprits étaient
>>>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 
>>>yea, yet ok it seems relevant for Leibniz that consciousness is
>>>to the internal feeling of the monad and the perception
>>>is relevant to the exterior environment of the monad, and perception
>>>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
>>>after all, no? Fernand Leger at the beginning of Micropolitic and
>>>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
>>>in Leibniz, ensues from his axiom namely that <<Je prends pour 
>>>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
>>>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.
>>>by reading your last quote I am quite worried about the unique way
>>>like Guattari or Deleuze have gained such powerful influence in
>>>all the spectrum of society lately, it's a bit sad, no?
>>>List address: deleuze-guattari at driftline.org
>>>Archives: www.driftline.org 
>>List address: deleuze-guattari at driftline.org
>>Archives: www.driftline.org 
>List address: deleuze-guattari at driftline.org
>Archives: www.driftline.org 

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