Le suicide de Deleuze : son dernier acte de libert� �

Le suicide de Deleuze : son dernier acte de libert>>:

Propos receuillis par Olivier Doubre pour Politis
par Richard Pinhas
Mise en ligne le vendredi 23 décembre 2005
Richard Pinhas est musicien.Il a longtemps suivi l’enseignement de Gilles Deleuze. Il anime un site Internet consacré au philosophe ,dispatu il y a tout juste dix ans.Il dresse ici un portrait personnel de celui qui fut son ami.

the important thing

the



important thing is flight

away around under even poetry art



molar like teeth big things
in the way

fete of inertia
practico

keep going

round unde r




here come the enemies
we must


pound and



what is this fascism that desires itself
?


what is it makes them,

desire their own



there is noother word, repression


elections of dead men and dead women


fright in a puff


what is this

how escape
this


body of death


stiff knees in my own body
reflect and refract the body politic



what righteous


gangs of conservatives

've come to ruin your body


mind soul



here comes


the end which was always coming
catacombs



so pray for the hills

to rise

valleys fall



Antioedipus and her gang ran

for the hills disappearing

gone the hills

genetic geeks of loss





what window sills of escape?


is that a jet overhead

?



you hear




is that a line of smoke escaping
your mouth
freeing your heart

1914


the seminal years of WW1 and
a gathering in zurich



the collection of artists poets

scintillating the death around them
the war

'I had no love for the death heads

I silently went my way...'


what sound does a wolf make
tracking in the snow

the pack

dispersing up the high roads. roads sniffed, tracks unknown, languages unspoken language that is not political but a spiritual track of unknown
quantity _ is this the way to the frosty north and the desire shield,
getting out


the machine hovering down
like a helicopter
that chops off your head
heading down the space



.




what space i s garnered



the wolves circled



because the snow turned


to what?

some spooky sight of deaths and light, a rhyme repeating forever, no

language to flee _ a thesauras of exploding nouns


a mouth growling

endings that become

endings that're female becomings
.


but who deifies what law is this of bodies


of love,


of beauty



as your station crosses out the night


the mountain huggers down on the christian city

speaking its night


repeat repeat


bannking the road
the listing

night
hungers the wolves


tracking hurling
sniffing snapping





.


R yer legs sore

sore

sore back of knees is 'i am screw'd
you fuck'd me ' there is no quote
or
italics baking the wrong of

fortune's body
.
her his fortune's body
leap

over
to word




.











I am a dizzy spell













.

























a basket of burning leaves



.

badiou lecture at the deitch gallery

badiou lecture at the deitch gallery


for franny and her gangling gang
the gaggle of gals
her multiple selves
the n- becomings of
the pebbles the sand
what is being
what does it mean to be?


on the island in Greece
I remember seeing her
as she walked toward me
and I was saying







yes yes yes, why is there being
why is there something rather than nothing?













































































c o n


















n e c t i n













g

desire... machine... contin...

in other words they're not namby pamby i feel sorree myself and my life things and art is not making itself better being composed of such slush goo baba clutter.
whata monstrous lingo of schio
analogues and the language of psychosis?
glossolalia the litter of its
burst


not the i, me, my of the mommy daddy
sort of jazz
but the real bad
shit



tera


cigs



backing



balcony

where waving Archbishops kick you out
of the centre of your dead brothel family
yer dead family body
crossing the spears of
humour
with the sex if not
of Zeitgeist?

she wandered around the end
edge of her flex text __






givin' all
forsaking none

living ball
taking less



is giving less

and not less
is not gi ving at a ll .






'I wan to see your dirtiest filthiest sonnets'

Someone in a book we read in London once eons past said in a






in the past of your sonnet was a hair
history conned the characters of its loom
yer sweet tuck was the riddle of its charm
a house to roll rompers and body
of your lover

continually

continually

seeks the condi[c]tion of the animal __
ART

best to all lines of flight and
schizo analogues.
as in a cabin going up space
or an escalater shooting its
teeth into space the grid holding its own
sown teeth the girl steadies herselves
in the circuit that is nowhere

a banking turn
she sallies along the spin
of whirling working day
O her mouth opens the pen
of his heart
a case to spare parts
offers the monetary suit


-- ---- ---

'Revolutionaries, artists, and seers are content to be objective, merely objective: they know that desire clasps life in its powerfully productive embrace, and reproduces it in a way that is all the more intense because it has few needs. And never mind those who believe that this is very easy to say, or that it is the sort of idea to be found in books.' --

Picabia's Daughter Born without a Mother _june 1915 _ seen first in 219_ an art magazine of that time .







Desiring - machines constitute the non-oedipal life of
the unconscious _ oedipus being the gadget or phantasy . By
way of Opposition, Picabia called the machine: "the daughter
born without a mother. Buster Keaton introduced his house
machine, with all its rooms rolled into one, as a house without a mother, and desiring machines determine everything that oges on inside, as in the bachelor's meal (the Scarecrow, 1920).

Are we to understand that the machine has but a father, and that it is born like Athena fully armed from a virile brain?'

Chaosophy 125 (English trans.)

fer more on Picabia follow the external link.

all shining |plateau translate: 1998

it was all shining it was Adam.

no more anxiety...
in the plateaux.

Comment, comment; J'ai est un autre, et plusieurs!

It is, in other words most strange indeed that the master of deconstruction would choose to write an introduction to the new English edition of Antioedipus. It is, of course, 'well-known' that the book had originally been prefaced in English by Michel Foucault.

Is there a final reconciliation taking place here before all the final curtain calls take place, and the old lions,


if not in this earth, then at least between the lines will perhaps have greeted one another.

In their faces and not their texts.

We also heard, thru the various grape-vines which

carry this sort of gossip that Jacques Derrida is writing the introduction to Antioedipus in its new translation.

It is said that this new translation will de mystify certain non-Derridean notions like the B.W.O. Matter, Immanence, etc.

"I think this new translation has been the deconstuction of the territory of a sorrow in philosophy"

Imagine reading such drivel from the hand of an old Master
hitter like Derrida!! hussssshshhs Deleuze wins strike 27.

No matter how prolific you are you old Derrida
you dont have it, Bye Bye Derrida ___



So Mona reads.

Scandalous she says not meaning to scan as in metric tic-tac-toe and iambic pentameter efforts 150 years late! Nah, my dears, no effort to rule the roost of desire deconstructions.

I James Joyce have said these words.

Sommaire Chimeres 57

De l'exil italien, entretetien avec Erri de LucaPsychiatrie aujourd'hui : la parole des infirmiers RAF : lettres de prison de Gudrun Ensslin+ Gilles Deleuze, Éducation et cinéma


Cette revue accueillera les travaux des individus et des groupes se réclamant de près ou de loin de la “schizoanalyse”, science des chimères : les travaux de tous ceux qui entendent renouer avec l'inventivité première de la psychanalyse, en levant le carcan de pseudo-scientificité qui s'est abattu sur elle comme sur l'ensemble des pratiques et des recherches en philosophie et en sciences humaines. À la manière des arts et des sciences en train de se faire. Work in progress. Les textes émanent ici de psychanalystes, de philosophes, d'ethnologues, de scientifiques ou d'artistes. Pas pour une inter-disciplinarité de galerie. Retour au singulier. À chacun sa folie. Les grands phylums théoriques finiront bien par y retrouver les leurs. De toutes façons, par les temps qui courent, nous n'avions plus le choix, il fallait repartir de là.

Félix Guattari, Chimères n°1

Chimeres is the journal periodical begun by Felix Guattari

and Gilles Deleuze. The site has wonderful links to the seminars of Guattari as well other rhizmomatic bits morsels and what knots to a thousand other palaces, spaces and aces...

Arthur LipSettrecharged

THis is my pal Arthur Lipsett _ he's dead. 1986. Film-maker. I was a poet, he hired me to write some words for his movie, and he paid me $100 for ten words, more like letters. I remember he came over for supper , as we used to call it in them days, not dinner! supper, I was living with Gail we had about 10 or 12 cats or so, this was 1977. Arthur was a great artist, film-maker, he freaked everyone out at the National Film Board.


It's weird how life is. I think Arthur, like Ryan (Larkin) was nominated for an Academy award. No, now that I come to think of it, I doubt it. Too spooky, lhe was, like Beefheart. Big Eyed Beans from Venus don't let anything get in between us. Like I mean how can you be weirder than that, and win the big old academy award. Gosh, good old Arthur __ I made a song for him in 1987 in my second book and later with David and my poetry ensemble Nietzsche's Daughter we did a great version of it. A song to be sprachsong as they say. Sort of like something between speech and song. I was howling jumping up and down on stage at Les FouFounes Electrique _ that measn Hot ASs in English. On St. Catherine. Not far from where my mother grew up when it was the red light district the hot wild district in the 30's. Zoot suiters. Men in pin stripes moustaches baggy pants. Women in clothe so tight it gave you a ...

[Singing' cockles and mussels alialilo]

Ah, yes, Arthur, it's been a long time since we spoke, you been dead, since 1986, and they say you killed yourself. I know, I was at the funeral. There was only six of us there. Not many. Buried way down in the East end of the City, not far from the river, not many like you buried on down there .

Among those people you didn't know, who cared not a bit for what you would have been doing. Those weird amazing movies, jerky as a jagged girl walking down the street to make my love. Very Nice Very Nice _ yea I remember seeing that one.

and the others.

Arthur Arthur you never read Antioedipus, I was 4 years sober when you died, not even, it was 3 and a half _. Arthur like the name of another great poet. Arthur they say you hung yourself .

Arthur Harold Lipsett
Born: May 13, 1936

Died: April, 1986

You died the same month as Jean Genet. He died in a Paris hotel, I wonder what time you died, and if you stepped into
the other world, across the river, at around the same moment. Would have been cool , wouldn't it?





You and Jean Genet steppin over the river aT the same Second!

that would have been somethin'! Now.
Kool. Kool. Dig Daddio . Like writing this Poetr
ee
drinkin tea at midnight candle burnin'

And that would be cool to have you
drop over now
years later

And this cool photo of you by Lois Siegal _ yeah, its'

copyrighted. It deserves to be it's so good. Like you

were and are and arrrreeeiing and I know where

you're coming from Arthur with your becomings

not dead but alive alive not dead

not that I want to cross the river

the way you did but when its time,

ta go Ill go gladly with a grace given

by the becoming s s s of it whatever

what ever its it

Ole Papa Deleuze went out the windoo

Too bad ya never read the Anti

Zinging the plac

e

e

Arthur Lipsett

those are yer notes.







'All ya ever do is blabber N' smoke
Why dont you quit actin' like you Know...'

Beefheart

Its what I got on . the machine. Some machine.
Diaal down jeans and my baby got no home
in

Highfi land
gramaphone land
they bash us with gramaphones


1975 .


Yea, thas a cool pic of Arthur's Note.
Up there floating around in this blog page.

and some cool phot of you by Lois Siegal
and two more taken by Judith Sandiforth .

Filmography:1961: Very Nice, Very Nice 1963: 21-87 1964: Free Fall 1965: A Trip Down Memory Lane 1968: Fluxes 1970: N-Zone 1977: Strange Codes.


Then there's the ones you didnt finish, the last one after the last. And the works of art you'd made in the moment. Of your hands in my kitchen on Debullion street making hour after hour of tapes for that show I was doing with the Punketariat called No More Fun__ 1978 . The group Punketariat does a show a seven day show installation precorded poetry massive wall sized collage live performance of poems. First public reading of my poem Blue Dog. And the night of


and 1986 at your grave
the coffin lowering down
how strange
what a fuck -up.
I put a ticket stub to movie on the coffin

as it ....

Strange . Life is.


Strange .


Like this, like this typewriter

with its pictures on the world wide web .





Actually Ver Nice Very Nice was nominated for
an Academy award. Imagine that , you and Ryan
both nominated. Strange birds flyin high'

.


Poetry.


Bodies bodies we , yes,

didnt think anything could go
wrong with them thenn


we thought we were eternal

Guess what ! you know,

we are,

its these bodies
vehicules that
the vehicule of the figure


that transforms .



bUt over the 'ruisseau'
the little 'ruiseea'

we're there

goin on

meeting the oness we couldnt

meet in this body .


You gotta smoke to live, Arthur,
you gotta burn .

_________________

Now I find out! some twenty years later!

Man you were famous! back then

when I was a kid!

in the foster homes

Look at this __

Kubrick described Very Nice, Very Nice (1961) as “one of the most imaginative and brilliant uses of the movie screen and soundtrack that I have ever seen.” Kubrick was so enthused with the film he invited Lipsett to create a trailer for Dr. Strangelove (Stanley Kubrick, 1965) an offer Lipsett refused. Stanley Kubrick, letter to Arthur Lipsett, Arthur Lipsett Collection, Cinematheque québécoise Archives, Montreal, May 31, 1962. Lucas cites Lipsett's 21–87(1963) as an inspiration for THX-1138 (1971). See Kevin Courrier, “The Incredible Mr. Lipsett”, Globe and Mail, February 25, 1997, p. D1. Brakhage admired Lipsett's ability to transform “documentary file footage” for “his own polemically poetic usage”. See Stan Brakhage, “Space as Menace in Canadian Film and Painting”, in Brakhage, Telling Time: Essays of a Visionary Filmmaker, Documentext, Kingston, 2003, p. 95.

__ I mean , sure , Christopher told me about you, but

what did I know about the early days. An d the fame the glamour

what strange pulses & beats flew over my head.

I heard a rumour about you being

beaten up by agang in Europe _

Christopher told me this __

Yes, you were never the same he said.

He said.

Remember Art Dump __ Christopher?

Now that was a cool place

when Bango was hapening

that weird idea of a band

an idea

was what made it interesting.

and you taking photos of my hands

in the kitchen on DeBullion street.

Even though, I don't smell much these days,

I remember your smell. and never knew

much you suffered. A programme of

of suffering

end the suffering.

So we end as always on a high note of

renewal and

here then your flying high Prospero.

What disjunction flattened yer brain.

Not a prosperous Prospero.

Clad in your white sheets.

List! List! o ghost!













And you know what, who cares if you make mistakes,
it's just a glorified typewriter,
a fancy highfi.

So tipso,

tipso.

____________________

_____________________

_______________

Green bars to clad your ruins .

nomads language borderlines

"Being a nomad, living in transition, does not mean that one cannot or is unwilling to create those necessarily stable and reassuring bases for identity that allow one to function in a community. Rather, nomadic consciousness consists in not taking any kind of identity as permanent. The nomad is only passing through; s/he makes those necessarily situated connections that can help her/him to survive, but s/he never takes on fully the limits of one national, fixed identity. The nomad has no passport or has too many of them."


SO SAiTh RoSY Braidotti in 1994 in a Booke


and Janine MacIntosh the Schizo from Scotland agrees


le plateau 00,120.00

dear ___all is borderline persona... its part of the between and the
line of flux, the gender dissolution... the orthography which decays also is
a joy. More another days




Deleuze and Guattari confronted this same question in A Thousand Plateaus: Capitalism and Schizophrenia:
Linguistics can claim all it wants to be science, nothing but pure science-it wouldn't be the first time that the order of pure science was used to secure the requirements of another order. What is grammaticality, and the sign S, the categorical symbol that dominates statements? It is a power marker before it is a syntactical marker, and Chomsky's trees establish constant relations between power variables. Forming grammatically correct sentences is for the normal individual the prerequisite for any submission to social laws. No one is supposed to be ignorant of grammaticality; those who are belong in special institutions. The unity of language is fundamentally political. There is no mother tongue, only a power takeover by a dominant language that at times advances along a broad front, and at times swoops down on diverse centers simultaneously.


So zing nomad mad no I love thy theeine is it the question of yer cerebellum so belle so bell so So a Mouth a mouth Oh a mouth Ah!

we must hear those music of those Braque guitars.

So

the


O

.

(Janine Macintosh is a "real" character in the Fictions series:


I like ending things with an open parenthesis,
don't you

?

why on earth

why on earth, on earth? ___ god jointed __ would wld. wood desire machines work work like that like that like that would would wld.


the whirling mast

no no the whirling manifesto of the last pages before the intro-duction proper to Schizoanalysis. Leclerc discusses the "Deleuze's stance to interpretation and metaphor.

His hostilty to intepretation and to metaphor, two processes characteristically within the scope of language, is notorious.
But equally notorious is his love of literature as the art
of language__ for Deleuze, a high modernist in his approach to literature, literary texts (their literariness) are very much a matter of style and syntax.

(Lecercle_ Deleuze and Language 2)

Ekphrasis
incipit __ insipid sip id Sip Id. Incipient Sip Id.


This is a test Antioedipus you zing the place the
zeugma of
the z

sentence

as it speak witches the line
.

they say A/O was still too academic. thus they are farcing . a little like Tzara and his hat trick.


But it is not a manifesto but a programme. A programme for living, writing and thinking. They tell me I punctuate like a French man. A french writing machine. in my blood, a hood in my blood, cloaked en francais. Impossible Incipient. I suspect it is church altar boy school latin. In nomine patris... .

blacl hole white[ning] face

"It seems clear to me that philosophy is truly an unvoiced song, with the same feel for movement music has."


Gilles Deleuze


"Find your black holes and white walls, know them, KNOW YOUR FACES; it is the only way you will be able to dismantle them and draw your lines of flight."
Gilles Deleuze and Felix Guattari

Indeed how remove the face of mask that plasters down the skin to the oily eyes,
preventing all else from seeing. Heart beating at the rate of death.

how to

how to remain intelligent in the midst of chaos.

seek the Chaosmosis the round cycle of the wheel

Mouth Mouth Mouth

that word recurring



Thought made in the mouth

thinking what you say

thinking

what the whatness of its becoming
one , the one among many, says in the active passive
sense of past beginings becomings, the lip
murmurming full of strength

irrational numbers: Pop-Philosophy...and then? (An Exchange of Views)

[A truncated transcription by ‘undercurrent’ of a symposium held in Paris in December 2004 under the auspices of the CSL, under the title Pop’philosophie, et après…?. Participants in this disussion were Chaim van der Lycée (Centre pour les Sciences Libidinales, Alphaville, Paris) and Grayson Darkling-Furniss (Black Hart University, New Crobuzon)]

Becoming-Minoritarian in the Banlieues

From the Wonderful blog.urbanomic.com

Council estate of mind..."A demand for recognition, fuelled by ressentiment" (Zizek)...really? (photo by Jean-Michel Turpin)

Becoming-Minoritarian...It's not only the irresistible Mille-Plateaux-refuting(?) killer line that makes this article from Le Monde Dossiers & Documents very interesting . It gives a portrait of "Christine C., a 28-year-old from Corneuve" and shows how right (despite the strange misinterpretation he gives it – see above) Zizek was to point out that the problem is not one of justice for those in desperate poverty: it's something more interesting than this, perhaps (as Badiou says) an 'ontological' issue, or indeed even a 'crise du sens'. The article is interesting on the hybrid culture of the young people in the banlieues (but this will sound familiar enough to any of us who use London buses) and the rise of Islam since 9/11 (giving pause for thought on that other 'philosophe's' call for 'more religion' as the solution). This is actually the first thing I've read that gives a convincing account of all the complexities involved (needless to say, this complex picture painted is not special to Paris). The general situation is the singular result of the meeting of various social tendencies, and thus must be addressed in very specific terms – specificity of the desiring-machines of consumer capitalism and the tangled lines of youth culture, specificity of the desiring-machines of Islam in their encounter with social (national, community) disintegrations (a task Reza has embarked upon in admirable fashion), and the reactions and counter-reactions consequent on liberal quasi-interventionism.

--

Portrait of Christine C., twenty-eight years old, Courneuve.

In twenty-eight years in Courneuve, Christine has learnt a lot. "To look more carefully at people, to like some, and to hate others." In Paris, her father sent her into the factory at sixteen, so as to help the family survive to the end of each month. She was left to her own devices, met her ex-husband, and found herself pregnant.

Their relations led them to Courneuve. "My biggest mistake. Once you set foot in this place, you never leave." She's been a cashier, a cleaner, a nanny, delivered leaflets, done ironing. She's brought up her five children, two girls and three boys, now aged between 19 and 28. Who she rules with an iron hand.

"The banlieues explode ....' for More follow the linky link, i.e. external 'link' . anyhow, reader, external points out as in the points-signs.

all of this makes me think of lines in that old Song by the Sex Pistols

Anarchy in UK

I thought it was the u.k

or just Another country

Another council tenancy

I wanna be an anarchis

...

Just another country where you can die.

Another council estate.

the fear to leave to go back to fear to leave to go back to leave to go fear go to too fear to leave to go go go fear fear back back back

'that freedom of mind I call poetry' poetry is a way of life , a stance not a mere aesthestic stance paying for courses,and stupid training workshops for middle class distracted neurotic who want to express themselves. god forbid they do! let me them shut up! finally and great silence's 'll envelope the globe... in breaths of peace and plenty ...

peace sister Catherine ...

What is code? A conversation with Deleuze, Guattari and code by David M. Berry and Jo Pawlik

Interesting interesting interesting and
more interesting.
Said Mona __ pointing to this thing!



What is code? A conversation with Deleuze, Guattari and code*David M. Berry & Jo Pawlik


The two of us wrote this article together.


Since each of us was several, there was already quite a crowd. We have made use of everything that came within range, what was closest as well as farthest away. We have been aided, inspired multiplied.[1]




JP: Code is described as many things: it is a cultural logic, a machinic operation or a process that is unfolding. It is becoming, today's hegemonic metaphor; inspiring quasi-semiotic investigations within cultural and artistic practice (e.g. The Matrix). No-one leaves before it has set its mark on them...DB: Yes, it has become a narrative, a genre, a structural feature of contemporary society, an architecture for our technologically controlled societies (e.g. Lessig) and a tool of technocracy and of capitalism and law (Ellul/Winner/Feenberg).


It is both metaphor and reality, it serves as a translation between different discourses and spheres, DNA code, computer code, code as law, cultural code, aristocratic code, encrypted code (Latour).