[D-G] Trident Archive Bernie Sander

Johnatan Petterson internet.petterson at gmail.com
Mon Mar 18 19:30:48 PDT 2019

" music is the creative , active operation that consists in
the refrain " i see bogue conference

so the reader understands why misperception, falsification and ironical
of retrogradable rythm at will, full part of the avant-guarde of the XX
century, has so
strongly influenced the contemporaneous art, like bacon or beckett, or
more contemporaneously,
mike lansing or cliffor duffy , and we just say that although we
naturally agree to the messianic conception of rythm,
we are not  artists and humans beings interested in such
a deteritorializing activity of the artists and of the humans beings.

ps have you understood why and how much smart phone people in the tramways
now have unilaterally stopped reading books?
that is not depressing and motivates so strongly against perception and
misperception, falsification and
its opposite ' acertaintification ' . humans in tramway stop producing art
or having anything to add or offer to anybody
other than the ghost writing this present message. this humanity does not
deserve to enjoy their smart phone.
if you happen to be a human and find a smartphone to be " yours" with this
message on a screen, thanks to the misperception of the Trident,
 in the next live you shall discover you were actually a dog and you do not
own the screen on which you are reading this message,
and this message had as destination someone else than the future self, and
as you do not deserve to play with you karma, learn to own your smart
retro-cede your existence away from this message !!

Le dim. 17 mars 2019 à 20:23, Mike Lansing <badger2 at mail2world.com> a
écrit :

> One can watch as Bogue explains "added value" in this youtube video at
> timepoint 17:48.
> Oliver Messiaen and Becoming Bird
> https://www.youtube.com/watch?v=tvx-HEWC2Oo
> 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
> 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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