...._-------------------------||||||||||||||||||||\\\\\\\\\\-----------------No OEDIpuS Does not exist...

the occasion for the drawing reproduced here also  happens to be a familial one: Gilles Deleuze, his wife  Fanny, and their children Julien, age ten, and emilie,  eight, meet around a table to inscribe a copy of AntiOedipus to Michel Foucault. Deleuze has written a few  words: “For Michel, admiration and affection, and for  shared causes, intolerably, where i will follow you.”  Fanny, who seems to be having fun, signs the page  “schizophrenically.” hard to tell whether Guattari was  there with them, or whether he added his illegible initials later—no matter how hard Deleuze tried to include  him, Guattari never quite fit into the story. the children  take a box of felt-tipped markers and draw pictures: an  exploding volcano sending terrified women and children  fleeing their homes in search of safety; a fisherman sitting tranquilly, having a drink, oblivious to the chaos just  beneath the surface, the danger overhead. in this inscription we see traces of a friendship.  or to be more precise: traces of fountain pens and felt  markers that attest to a friendship, which, sadly, was  nearing its end.

Through from and away from to its infinite repeate around the blogoverse a VerSe


production __ expression

1. Expression vs Production At the end of the very first paragraph of the book D&G warn us against metaphors. "Something is produced: effects of a machine, and not of metaphors" (p. 2).

Why are they so worried about metaphors, and why are metaphors the alternative to machinic production? I think these questions refer to a general problematic

that is
                     elaborated throughout the second part of the book in terms of the alternative between production and expression.

Schizoanalysis declares itself for production and against expression -- but what exactly is expression? In his book Spinoza and the Problem of Expression written a few

years earlier, Deleuze posed the concept of expression as the key to his entire reading of Spinoza. It was an unconventional concept to choose because Spinoza never uses the terms and it had never played an important role in the long history of Spinoza interpretation. In that work Deleuze gave "expression" a very precise definition. Spinoza's being, he said, which is one and universal, is expressed through the attributes of thought and extension. What is important in this expression is that being and the world have the same essence, being is not something outside of or separate from the world. Deleuze highlights the fact here that there is an immanent notion of causality at work in this expression, in which the cause is immanent to (rather than separate from) its effect. To say then in this framework that being is expressed in the modalities of the world means that being causes or creates these modalities but not in any exterior way; being remains always within these modes, as immanent cause.

Expression is thus used to mark a certain kind of production--specifically, a production in which the producer remains immanent to what is produced, in which producer and produced share a common essence. (It is interesting to note that in that book

Deleuze used this notion of expression in opposition to and as a critique of semiology, in the sense that signs and sign systems are external to what they represent or signify.)

Now in Anti-Oedipus D&G use the term "expression" very differently, in fact almost in the opposite sense. (I don't have any good explanation to this change of usage nor do I attach any great significance to it. In fact this later usage might be closer to our everyday usage of "expression." In any case I only want to clarify how the term is used.) I
In Anti-Oedipus, expression is related to representation and signification, and thus it designates precisely what 

is not immanent to the term or thing. 

Expression poses a meaning outside of and detached from the real 

process and hence blocks the process. As such expression is the primary enemy of production.

This is what Oedipus and psychoanalysis do: substitute representation or expression for process or production. "... the reproduction of desire gives way to a simple representation, in the process as well as 

theory of the cure. The productive unconscious makes way for an unconscious that knows only how to express itself--express itself in myth, in tragedy, in dream" (p. 54).

the expressive unconscious is what destroys the productive unconscious: "The unconscious ceases to be what it is--a factory, a workshop--to become a theater, a scene and its staging" (p. 55). (And I should probably add, only to be obstinate, that factory, workshop, theater are not metaphors here but real forms or functions of the unconscious.) 

 Expression destroys production, or displaces it, or takes away its power. D&G's preference for production over expression is posed not even in ethical terms (production is good, expression is bad) but in properly ontological terms: the being of the unconscious is production; expression is an alienation or falsification of that essence -- "the unconscious ceases to be what it is ...." This is not just a question of the unconscious or the being of the unconscious. 

for more of Michael Hardt's invaluable comments and remarks


from Michael Hardt's notes on Antioedipus 2

A good laugh ... a lousy reterritorialization Jesus as Antioedepus the arch cannibal

Christianity and Psychoanalysis, Part 1: Jesus as the Anti-Oedipus

Basic connections between Freudian psychoanalytic theory and Christian theology are explored. The focus in on the Oedipus complex, the origin of neurosis in Freudian theory; it is argued that the Oedipal motivation is a reasonably apt characterization of original sin. After a detailed comparison of the Freudian Oedipus with the Christian Jesus it is concluded that Jesus is the anti-Oedipus and thus he represents the logical answer to the neurotic consequences of the hypothesized universal Oedipal motivation. This rationale also provides an explanation of the irrational, unconscious motivation behind atheism, namely that atheism is Oedipal wish fulfillment||||||||||||||||||||||||
it would take a  Christian
to Pull off this kind of Reversal!
==========================   Guattari  and Deleuze are surely turning over in their graves! laughing crying weeping gnashing their teeth!
theN Laughing their heads off



a true and true and

___________________________               ____________________________      ______________________________________________________________________________________________   ________________________   _______________________    ____________   ____________  __________________________________________________________________________
A true politics of psychiatry, or antipsychiatry, would consist

therefore in the following praxis:                       (1) undoing all the reterritorializations

that                           transform madness into mental illness; (2) liberating the schizoid

                                movement of deterritorialization in all the flows, in such a way that this

characteristic can no longer qualify a particular residue as a flow of

                                        madness, but affects just as well the flows of labor and desire, of
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||A/0 321 (e

PARTINGS 2__________AND___________partings__________________________3


On your bicycle you are at home homing out inweaving weft outward spinning the sun toward 

              the body's new found home that's home as the parts fly outward
                              cutting their own strange to the desire


 Between this bicyle and that other parts come together finding their awareness not finding them/the voice
clicks two/three four times
                           in the machines between each machine moment a becoming    ~ .


 every antioedipal machine creates itself its new space for make and unmake the truck stratas around it/crete the create crack around you for yourinbetween

And here is 
Nicola's very own 


Zee crazie 
Nicola Morton


Imaginary Flying Machines as lope to loop


Nicola Morton reads 'Anti-Oedipus' part 1_______________________________________________

                                                     A little machine to make you happy /unhappy 
deterritorialize your pieces
creating  a shamanistic space
for your own creatings 

Miss Lenz
Madame Lens


Performative Lecture with performance decoding of a bicycle within the late capitalist society machine, then recoding it.

1) desire flows through a body of organs, which are machines. society can be defined by a flow of desire through machines. the flow is interrupted between machines either conjunctively ie associatively penis-sperm, disjuntively ie schizzing and taking 

the flying bricks of signifying chains that build the great wall of china, working them loose and carrying them in every direction 

(this is what capitalism does to a certain degree & see my performative actions) or conjunctive with residual ie a subject like capital is produced alongside synthesis (this is capitalism creating capital). Lacan "repare - procure seperare-seperate reperare - engender." there is also a body without organs (without desire) ie. residual

2) the deterritotorialisation-reterritorialisation poles of capitalism - Capitalism tends toward a threshold of decoding that will destroy the socius in order to make it a body without organs and unleash the flows of desire on this body as a deterritorialized field ie. capitalism in former communist countries, Capitalism institutes or restores all sorts of residual and artificial, imaginary or symbolic territorialities, thereby attempting, as best it can, to recode, to rechannel persons who have been defined in terms of abstract quantitities. however it simultaneously tends towards limits as everything also returns or recurs: States, nations, families to reterritorialise.

: _______________3) The schizophrenic tendency is the revolutionary tendency of capitalism'"

 It is precisely this statement which needs to be qualified and read in context:


Capitalism and Schizophrenia is more fun than lying on a pyschoanalyst’s couch. This presentation explores the inspiring critical theory behind Nicola Morton’s performance from June 24 at JNM, “The Shamanic Death of Capitalism.”  Concepts discussed from Deleuze & Gauttari’s anti fascist manual Anti-Oedipus (1972) are – The Multiplicity of Flows in the Desiring Machines Circuit, Schizoanalysis and the Revolution and Schizophrenia as a New Aesthetic Model. Participants collaborate in hands-on activities to code, decode and recode whilst eating, shitting and vomitting some of the heaviest, most revolutionary thought from our time. Arm yourself with rhizomatic thinking and push capitalism to the limit!
Nicola Morton is currently a resident at Performance Klub for Asialink’s Residency Program. She is a cross-disciplinary artist and works internationally in new media, performance art and activism. She has previously conducted creative workshops on artificial intelligence (2009), time travel (2010) and large hadron colliders (2011), and writes critically on Monumentality and Wagner (2010), Postmodern Feminist Noise Music (2004) plus for the magazine, “Mind Objects: A Phenomenological Inquiry” (2009).

Source and Link Here 


cut your fingers

 you've always cut your schizophrenic fingers/around/ the desire of /beauty's body

   cause its capital 's cut the schizophrenic asshole of the world in which pours the black hole
of nothingness and the 
             wealth of them's that gots 10 million to spend spending on shit creating world class
lies and shitheaths for them few that's gots the middleclass of the westering conquesting...  andits somewheres between you find your legs 

      ..long the path of deisre's

_________________money's not love