[D-G] Automation from the Souls of Artists.
badger2 at mail2world.com
Tue Mar 19 17:23:00 PDT 2019
As we forge a synthesis of non-messianic Pinhasian rhythms, chords and
notes, architectural blobs offer a horizon for the machinic unconscious
to mutate a time against the grain.
'The building of space now shifts from stable form to abstract force,
steering new ideas and challenges to the relationship between space,
body and technology. Architects of topological surface organizations
"invite us to consider a new morphological analog of the body more akin
to a single-cell blob than a symmetrically articulated upright man"
(Greg Lynn 176) Architectural; theorist Greg Lynn's method of designing
, involves programming a set of modifications (before [italics]) he has
an object to modify. His work engages with "an alternative mathematics
of form" to integrate an abstract plan that cannot contain all the
details of the final product. In other words, the design has to be
abstract enough in order to be compatible with myriad combinations.
Lynn's "soft geometry" includes curves, folds and blobs as
morphological issues that emerge in the process of converting a surface
into a continuous traversing line. Blobs are intensive bodies that
traverse the internal/external divide (between body and world, organic
and inorganic) expanding by constantly incorporating external forces.'
(Ikoniadou E, Rhythmic Topology: The Affective Stretching of Nature, in
Bernd Herzogenrath, ed., An [Un]Likely Alliance: Thinking Environment
with Deleuze and Guattari)
'Cold and dark, a crypt closes upon its black ink like an egg run
through by a fragile limestone that the most external forces make
(John-Clet Martin, Cartography of the Year 1000, in Gilles Deleuze and
the Theater of Philosophy, Routledge, 1994)
'Cellular Vibrations. '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. Discovered by
nanoscientist James Gimzewski, sonocytology reveals that cells produce
numerous miniscule vibrations per second. The breakthrough was further
enabled by Gimzewski's invention of the Atomic Force Microscope (AFM),
an ultrasensitive high-resolution motion detector that uses tactile
sensing to detect motion as molecular scale. When these vibrations were
amplified, the state of the cells (presence of lack of movement) was
found to be directly linked to their rhythmic properties Using computer
software, Gimzewski and his team amplified cellular rhythms collected
by the AFM to create audible sound'
(Ikoniadou, op cit)
>From: Mike Lansing [badger2 at mail2world.com]
>Sent: 3/17/2019 3:37:23 PM
>To: deleuze-guattari at lists.driftline.org
>Subject: Re: [D-G] Automation from the Souls of Artists.
>ï»¿One Deleuzian musician has pioneered exploration of rhythms is
>Pinhas, from Le Voyageur (O Ardarilho) -- Heldon e Gilles Deleuze
>(youtube) to more recent Heldon - Les Soucoupes volants vertes
>(youtube), which complex background rhythms seem ideal with which to
>experiment with amino acid sequences.
>>From: Mike Lansing [badger2 at mail2world.com]
>>Sent: 3/17/2019 2:23:17 PM
>>To: deleuze-guattari at lists.driftline.org
>>Subject: Re: [D-G] Automation from the Souls of Artists.
>>ï»¿One can watch as Bogue explains "added value" in this youtube video
>>Oliver Messiaen and Becoming Bird
>>The reader may also ask as did John Beasley-Murray: "What is the value
>>at the point of exchange?"
>>>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.
>>>ï»¿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
>>>'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
>>>modifying a figure through the addition or subtraction of rhythmic
>>>values, the composer can develop "personages rhythmiques" whose
>>>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
>>>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
>>>The progressive augmentation of r diminution of values in itself is
>>>an uncommon compositional technique, but in Messaien's hands it
>>>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
>>>his contemporaries.....Messiaen's third basic rhythmic innovation is
>>>the use of "non-retrogradable rhythms," which may be defined simply
>>>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
>>>last three notes are the retrograde of the first three, the two
>>>three-note units framing the central value of the quarter note tied
>>>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
>>>as a measure in 19/16 time. Such non-retrogradable rhythms form
>>>units that Messiaen generally either uses as rhythmic pedals or
>>>develops through augmentation of the outer units. As Messiaen
>>>one senses in these rhythms "a certain unity of movement (where
>>>beginning and end are confused because identical)," a unity of
>>>that discloses a time at once circular and reversible.'
>>>Bogue-Messaien have described the antinomy of the impossible trident,
>>>universal (unity-desiring) symbol of misperception and deception.
>>>>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.
>>>>ï»¿You have pointed to why we think the Impossible Trident is
>>>>against the voting U.S. prisoners as a Democratic socialist
>>>>as a decoy.
>>>>Firstly, we translate your Liebniz excerpt below as....'I take it
>>>>granted that everything to be created is subject to change, and
>>>>therefore the Monad created as well, and that change is continual
>>>>each.' We believe that indeed it is the basis for the spiritual
>>>>automaton, it is the basis for theogonic repetition and
>>>>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
>>>>and Guattari: Critical Assessments of Leading Philosophers, pp.
>>>>240-254, Rhizomusicology: '....Although Deleuze and Guattari do
>>>>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
>>>>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
>>>>and Guattari in this enterprise is Oliver Messaien, whose remarks
>>>>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
>>>>ways in which Mille plateaux and the musical and theoretical works
>>>>Messaien mutually illuminate one another. My object is not to
>>>>sources or trace influences, but to describe the process of
>>>>that takes place between Deleuze-Guattari and Messaien -- one that
>>>>paradigmatic of the "encounters" that generate the unpredictable
>>>>theoretical developments of Mille plateaux.
>>>>Musicorhizonomy....But obviously what draws Deleuze and Guattari
>>>>Messaien is the composer's dedication to experimentation in all
>>>>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
>>>>continuum, in which even the holes, silences, ruptures and cuts
>>>>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
>>>>career, Messaien has experimented with rhythm and harmonic modes,
>>>>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
>>>>intense experimentation in Messiaen's music is rhythm. Rhythmic
>>>>he states, "is music that scorns repetition, straight-forwardness
>>>>equal divisions. In short, it's a music inspired by the movements
>>>>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
>>>>with eternity before it and eternity after it. A before and an
>>>>That is the birth of time. Imagine then, almost immediately, a
>>>>beat. Since any beat is prolonged by the silence which follows it,
>>>>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
>>>>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
>>>>just where Messaien smuggles in his god as first-cause violence,
>>>>because Messaien is incorrect that the second beat is longer than
>>>>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
>>>>Impossible Trident, as we will show, forthcoming.
>>>>>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
>>>>><<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
>>>>>paraîtra dans la suite.
>>>>>Et c'est en quoi les Cartésiens ont fort manqué, ayant compté
>>>>>dont ne s'aperçoit point.
>>>>>C'est aussi ce qui les a fait croire que les seuls Esprits
>>>>>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
>>>>>to the internal feeling of the monad and the perception
>>>>>is relevant to the exterior environment of the monad, and
>>>>>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
>>>>>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
>>>>>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
>>>>>is a painting with loads of light and artificiality, right?
>>>>>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
>>>>>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
>>>>>and movement and speed and slow.
>>>>>The change is not "continuous" in Spinoza. Hence the
>>>>>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-
>>>>>(spiritual?) Automata would help the perfectibility of
>>>>>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
>>>>>like Guattari or Deleuze have gained such powerful influence
>>>>>all the spectrum of society lately, it's a bit sad, no?
>>>>>List address: deleuze-guattari at driftline.org
>>>>List address: deleuze-guattari at driftline.org
>>>List address: deleuze-guattari at driftline.org
>>List address: deleuze-guattari at driftline.org
>List address: deleuze-guattari at driftline.org
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