Mona's bodee wid Out OrganSreadin'between lines


'For you can tie me up if you wish, but there is nothing more useless than an organ. When you will have made him a body without organs, then you will have delivered him from all his automatic reactions and restored him to his true freedom. They you will teach him again to dance wrong side out as in the frenzy of dance halls and this wrong side out will be his real place.'
Antonin Artaud, 'To Have Done with the Judgement of God' (1947)

'It operates everywhere, either permanently or discontinuously. It breathes, it warms up, it eats. It shits, it kisses. What a mistake to have said it. Everywhere machines, and not just metaphorically: machinic machines, with their couplings and connections. An organ-machine is coupled with a fountain-machine: one of them emits a flow which the other cuts.'
Deleuze & Guattari, 'The Anti-Oedipus. Capitalism and Schizophrenia' (1972)

"Artaud's only misjudgment was his belief that the body without organs had yet to be created. The electronic body is the body without organs. ( So say the writers of Critical Ensemble in a rather dogmantizing tone... ) It already "dominates" performance (whose performance, which ones?), and has recentered the theater around empty identity and empty desire ( I ask: Which theatre?a theatre without organs, the theatre of Cruelty?) (maybe they are speaking about Tv that most cruel of organ sans body & Not body without organs) is the perfect body- forever reproducible ( Interesting claims:these statemtents need to context themselves..are they speaking of a concept of electronic resurrection??)..). No reduction to biology(BioLogy is Not Reductive) now. Two hundred Elvis (Please, not that fat friggin dUde again cand clones aint B.W.O's) clones appear on the screen. Separate them: Turn the channel; play the tape. Each performance is on an eternal loop. These clones were not made in a test tube; they reproduce of their own accord, each as precise and as perfect as the last. No fluids, no plagues, no interruptions. Again critical's reading of A/O and BWO is of one type of BWO not the multitide of them....

'The orifices of the body without organs are sewn tightly shut. 'No consumption, no excretion, no interruptions. Such free-dom: Safely screened off from the virtual catastrophes of war, capital, gender, or any other manifestation teetering at the brink of a crash, the body without organs is free to drift in the electronic rhizome.Again too easy the body is attended by the BWO but requires a Body_ this territory reterritory deterritory : Artaud is horrified at the idea of the loss of an actual body

The theater of the street and its associated cultural debris collapses. Civilization has been washed clean-progress is complete-dirt, trash, rot, and rubble have been screened off and erased from the perfect world of the electronic body. The electronic body, free of the flesh, free of the economy of desire, has escaped the pain of becoming." Precisely & thus this is not the Body-without-organs but more like Zizek's Organs without Bodies....
Critical Art Ensemble, "The Electronic Disturbance" (1994)

"Luther Blissett has no openings."
Luther Blissett, "The Low on Luther Blissett", (1995) this to be followed up

"This new social relationship between the electronic body (the body without organs) and the organic body is one of the best resources for performance material. Performance resources must go beyond the organic body, which at present acts as the master link in performative models of representation. In the age of electronic media, it is inappropriate to argue that performance exhausts itself under the sign of the organic. After all, the electronic body is always performing, even if in absentia on every stage.

There is every reason to desire the electronic body, and every reason to despise it. This pathological struggle occurs when one views the electronic body, and feelings of sympathy (Husserl) and envy (Benjamin) implode in a schizophrenic moment.
As Baudrillard states: "In spite of himself the schizophrenic is open to everything and lives in the most extreme confu- sion. The schizophrenic is not, as generally claimed, characterized by his loss of touch with reality, but by the absolute proximity to and total instantaneousness with things, this overexposure to the transparency of the world."

this condition Baudrillard describes has become a common condition for everyone excepting the rich the priveliged. and those few 'above' the common. the multitude.s .

of bodies without organs of everyday life. On the other hand, it is not a statement that bears generalizing as the schizo condition by defintion is one in flux and movement in, over and itself a creation of Intensity. and flow-coupage, and rearward fall back.

"In the debris (debris? more fancy theoretical terms) of intersubjectivity, the organic and the electronic face each other. The electronic body looks so real. It moves around, it gazes back, it communicates. Danger Danger Danger!

"Its appearance is our appearance (Which Our are you speaking of???). Identity manifests and is reinforced, as subjectivity is extracted/imposed by the elec- tronic other. How can such a perception not conjure a sympathetic response? Yet in that same instant of unity comes the burning feeling of separation born of envy. The identity of the electronic body is not our own."
Critical Art Ensemble, "The Electronic Disturbance" (1994)

Well, Mona had a total
living on atol
or chase
cash registering the deaths births and climates o f her lover's body an agnostic sweet hipped kiss, flasked by the quite need of her wanting... wanting ...

is that how she ontologized her sweet quim? where her body was a memory or sememe of liquid punches, her brain stem fell on the floor, and her feet skin heeled dry, cracked. Not like the pop quiz of death, or cloned bodies. But real ones cut into her , into the quick .

  • TakingtheBrim

  • she did a rear Back neighing her horses.


    China: the grass, splinters

    "I believe that today more than ever a book should be sought after even if it has only one great page in it," wrote Henry Miller in Tropic of Cancer.

    "We must search for fragments, splinters, toenails, anything that has ore in it, anything that is capable of resuscitating the body and soul."

    In A/O and in other works D& G (DOG or GOD) quote Miller . ANd even when they dont quote him direct, there's a love of life and energy that is Millerian,
    alive, electric. Not a masturbation machine of the maniacs of money.

    The grass, China, the Hamlet letters.



    really, its the same theme
    anyway. it goes back
    to Orpheus on the Sidewalk.


    he wouldnt keep standing backwards
    on the shale of her deaths,
    mock bread
    & wine,

    a tout to bring his thing to an end,
    the loves which fostered that denial.

    or somethinglike this,
    when he turned his blind eyes to

    how do you spell, blind eyes?
    howdo you spell coriander

    . a stopped up word was her flow.
    inching around his death.
    in the blow-by-blow of his death.

    its narratives and placements.

    that your hair
    never understood.

    in your eyes
    , a prophecy.
    taking it all paranoid.

    a god was speaking.
    flute grain .

    an oracle spied the word .


    was a kiss worth it, all the deaths?
    of marathons and maids,
    preening their fortunes
    on his back,
    Oh, lover.
    of the would be.

    O waves
    crush the seed


    bares the night,
    its double-entendre
    jeu de mot
    was something seeking me

    around that moment
    of your coming
    usurping .


    of there or then sailed Anti his forth went fourth
    on the petal of escape its wandering tooth his song
    lover mother gone in the splay of rage anger's delire

    a reading to death's do us parting cut curtains wake

    and history's nave , a broken wake, to war war, war, war
    more of it each hour. of this earth's mistake,
    a muddle to bear drifts and wrongs
    the guns blast,(inexplicable lore) inexplicable ways, the armies
    (by now) sawed off their shot guns
    jam hair waves tatter in the smash of their firing.

    because he was the unforgiven one
    forgone, and the unrepentant two
    he was a coward of desertion disrepute his song
    its only wrong his body a murdering waif,
    what would she know of this,
    his daughter mother , Antigone walked along.
    The accidental charms and rhymes a charm of his char,
    a something or other in the pay of his debt,
    a legal sort of tender of penance and peanuts,
    a contrite lover's wrong to his beloved, her mother
    wept womb to his long thronging fingers of failure,
    and their other one and two , three but four a door.


    of this child he 'll always be your voice
    your prose again the lips of your chin
    lean into him, a
    right wretched sonnet to the bell wether
    its ringing in the wear along blessing


    she was his body page,
    a crazed sex darling
    some fantasm of
    veiled .


    inside the

    and 'desiring machines only work when they break down, and they are continually breaking down...'

    'I am not appealing for any man's verdict, I am only imparting knowledge. I am only making a report. To you, honoured Members of the Academy, I have only made a report.' K 7

    Prof DaddioDeleuze& Analyst Guattari go on to say ' A writer isn't a writer-man; he is a machine-man, and an experimental man (who thereby ceases to be a man in order to become an apre or a beetle, or a dog, or mouse, a becoming-animal, a becoming-inhuman, since it is actually through voice and through sound and through a style that one becomes an animal, and certainly
    the force of sobriety . '

    'Metaphors are one of the things that make me despair of literature .' Diaries , 1921_Kafka.

    Schizo-politeness, a drunkeness caused by water. K 26

    'Art is a mirror, which goes 'fast,' like a watch - sometimes.' K 28. Think of Dali's Melting Watch .

    What are the components of this literary machine, of Kafka's writing, or expression, machine?
    One component is the letters. In what ways do they belong to the oeuvre? In fact, Kafka's work is not defined by a publishing intention. Kafka evidently did not thinki of publishing his letters; quite the contrary, he thought of destroying everything he wrote as thought it were all like letters.
    If the letters really are a part of the work, it is because they are an
    indispensable gear, a motor part for the literary machine as Kafka conceeives of it even if this machine is destined to disappear or explode to a degree comparable to the machine of the Penal Colony.

    Impossible to conveive of Kafka's machine without it involving
    an epistolary aspect.
    Perhaps it is as a function of the ltetters, of the demands, of their potentials and their insuffiencies,
    that the other other pieces will be assembled.

    The letters are a rhizome, a network, a spider's web. There is a vampirism in the letters, that is specifically epistolary. K 28-9

    Kafka:Toward a minor literature. trans. Dana Polan

    Thus : Dear one I am dead without your .

    Signed and dead sign _ Writer of words and pens.

    As always 'all mywords are on parole'



    eb france, en francais, de territory becomes reterritoried of explaination. but finally how blo ggin itself is instable is a mark of the trace of its flight and flightingnes...

    14 avril 2006
    Deleuze, Guattari et Artaud sont sur un bateau…

    Le quai de la théorie

    "La schizo-analyse deleuzienne cherche avant tout à ne pas se tromper sur le désir. Pour Deleuze et Guattari, le désir n’est pas une affaire privée mais un investissement collectif. On désire dans et par le collectif. « Tout délire est d’abord l’investissement d’un champ social, économique, politique, culturel, racial et raciste, pédagogique, religieux : le délirant applique à sa famille et à son fils un délire qui les déborde de toutes parts » (1). ...."



    Existential machines, "he said and of other things, his mouth was the sure awkwar.d. spent. Of what," are at the same level as being in its intrinsic multiplicity." " said of other noses,twins of crescent sur le bus - she cannot say canopy for sure, is confidence absent .

    Desiring machines which break "beak and primrose,
    bean stalks around the sad shade of her smile,
    upturned the retrousee thing which smiles
    after a half-tone, half tuba ,

    nothing really. Such 'auto-centering partial drives
    'don't translate really the nauseau of the blue.s.
    that night, the restaurant all night.

    I dont want anything to do.



    her agnostic lover paid the rent.

    peddling its sham like ways, its unconscious molecule
    a path to .

    some other tree, of spent garbles and manufactured


    'He gives us twelve or thirteen versions of the death of God, for good measure and to be done with it, so as to render the event comical. ANd he explains that strictly speaking this has no importance whatever, that it merely concerns the latest Pope; God dead or not dead, the father dead or not dead, it amounts to the same thing, since the psychic repression
    (refoulement) and the same social repression continue unabated, here in the name of God or a living father, there in the name of man or the dead father.

    Nietzsche says that what is important is not the news that God is dead, but the time this news takes to bear fruit.'

    A/O 106

    Turning to herselves the girders, she whips the eyelash
    counting back the staves of her money,
    her garish hips near my neck. Love, love,
    she calls, it. Love.

    Agnostic. Dead Agnostic. Dead.

    And doctor God is a Lobster. So.
    Stick your Tongue out.



    she was an atheist lover
    bundled in cement

    'the unconscious is orphan, atheist'


    what is the brim of cement?
    its name and other prim ghost.