The schizophrenic... is

The schizophrenic is the universal producer. There is no need to   (and this matches him with the universal capitalist yes, this is good) 

distinguish here between producing and its product. We need merely
note that the pure "thisness" of the object produced is carried over into a
new act of producing. The table continues to "go about its business." The
surface of the table, however, is eaten up by the supporting framework.

The nontermination of the table is a necessary consequence of its mode
of production. When Claude Levi-Strauss defines bricolage* he does so
in terms of a set of closely related characteristics: the possession of a
stock of materials or of rules of thumb that are fairly extensive, though
more or less a hodgepodge—multiple and at the same time limited; the
ability to rearrange fragments continually in new and different patterns
or configurations; and as a consequence,

an indifference toward the act
of producing and toward the product,
(this is not dissimilar to indifference the artist/ the artist producer schizo a fine line a dilation, a dialectic hovering between betwix the two of them? celine's reputed indifference to his manuscripts once he handed them over to his secretary... this is in Erika Ostrovoksy's books about Celine) (yes but Celine was nuts~ hahah a delire racial and nowawe!days it's delire religieux) (yes he was nuts but not like the nut who can't ever anything done because their delire confounds them to paralysis and or death catatonia just like the alcoholic's psychosis prevents her eventually from achieving anything)

but the chaos of the artist is not identical to that of the nervous neurotic.

i knew apainter once he was neurotic! like crazy. to the pointwhereit was replusive . it was impossible to spend time with after alwhile and because he'd been a bit succesful he was terribly self conscious and even precious....
i forgot all about him..
the spoken word people and company are all populist delires or let me coin a phrase populist delirists!

toward the set of instruments to be
used and toward the over-all result to be achieved.t The satisfaction the
handyman experiences when he plugs something into an electric socket
or diverts a stream of water can scarcely be explained in terms of
"playing mommy and daddy," or by the pleasure of violating a taboo.
The rule of continually producing production, of grafting producing onto
the product, is a characteristic of desiring-machines or of primary
production: the production of production. A painting by Richard
Lindner, "Boy with Machine," shows a huge, pudgy, bloated boy
working one of his little desiring-machines, after having hooked it up to
a vast technical social machine—which, as we shall see, is what even the
very young child does.
Producing, a product: a producing/product identity. It is this identity
that constitutes a third term in the linear series

______________  this little  piecy ripped out from page 7 of the book by Mona's Aunty and Unclly Jill Deleuze and Franny Guattarietti. Now this sentence or two is fiction. So the above was anecdotal verging on fiction. and life is anecdotal verging  on the   r         e              a                  l

as when some die they will see their ruins

 and walk among the fiery asseddead eating berries an picking shit in purgatory  of fart, belch, gas and reappearing meals

and the vomit spew from the gas main

and this too will seem a mercy as the days and hour and hour after repeat repeat and no change
no difference of a moment a nano second's terminal eternal transferring transcendence 

Everything stops dead for a moment, everything
freezes in place—and then the whole process will begin all over again.
From a certain point of view it would be much better if nothing worked,
if nothing functioned.

 Never being born, escaping the wheel of continual
birth and rebirth, no mouth to suck with, no anus to shit through. Will

*bricolage: The tinkering about of the bricoleur, or amateur handyman. The art of making do with what's at{Translators' note.)
tCIaude Levi-Strauss, The Savage Mind (Chicago: University of Chicago Press, 1966), p. 17: "The 'bricoleur'
is adept at performing a large number of diverse (divers) tasks; but unlike the engineer, he does not subordinate each
of them to the availability of raw materials and tools conceived and procured for the purpose of the project.
His universe of instruments is closed and the rules of his game are always to make do with 'whatever is at
hand,' that is to say with a set of tools and materials which is always finite and is also heterogeneous because
what it contains bears no relation to the current project, or indeed to any particular project, but is the
contingent result of all the occasions there have been to renew or enrich the stock or to maintain it with the
remains of previous constructions or destructions."

                                        THE DESIRING-MACHINES 7

the machines run so badly, their component pieces fall apart to such a
point that they will return to nothingness and thus allow us to return to
nothingness? It would seem, however, that the flows of energy are still
too closely connected, the partial objects still too organic, for this to
happen. What would be required is a pure fluid in a free state, flowing
without interruption, streaming over the surface of a full body.
Desiring-machines make us an organism; but at the very heart of this
production, within the very production of this production, the body
suffers from being organized in this way, from not having some other
sort of organization, or no organization at all. "An incomprehensible,
absolutely rigid stasis" in the very midst of process, as a third stage: 



No tongue.

 No teeth.
 No larynx. 
No esophagus.
 No belly.


The automata stop dead and set free the unorganized mass they

once served to articulate. The full body without organs is the
unproductive, the sterile, the unengendered, the unconsumable. Antonin

Artaud discovered this one day, finding himself with no shape or form
whatsoever, right there where he was at that moment. The death
instinct: that is its name, and death is not without a model. For desire
desires death also, because the full body of death is its motor, just as it
desires life, because the organs of life are the working machine. We shall
not inquire how all this fits together so that the machine will run: the
question itself is the result of a process of abstraction.
Desiring-machines work only when they break down, and by
continually breaking down. Judge Schreber "lived for a long time
without a stomach, without intestines, almost without lungs, with a torn
oesophagus, without a bladder, and with shattered ribs; he used sometimes

to swallow part of his own larynx with his food, etc."7