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 The body
without organs is nonproductive; nonetheless it is produced, at a certain
place and a certain time in the connective synthesis, as the identity of
producing and the product: the schizophrenic table is a body without
organs. The body without organs is not the proof of an original
nothingness, nor is it what remains of a lost totality.

Above all, it is not a
projection; it has nothing whatsoever to do with the body itself, or with
an image of the body. It is the body without an image. This imageless,
organless body, the nonproductive, exists right there where it is produced,

in the third stage of the binary-linear series. It is perpetually
reinserted into the process of production. The catatonic body is produced
in the water of the hydrotherapy tub. The full body without
organs belongs to the realm of antiproduction; but yet another characteristic
of the connective or productive synthesis is the fact that it
couples production with antiproduction, with an element of antiproduction.

2 The Body without Organs
An apparent conflict arises between desiring-machines and the
body without organs. Every coupling of machines, every production of a
machine, every sound of a machine running, becomes unbearable to the body
without organs. Beneath its organs it senses there are larvae and loathsome
worms, and a God at work messing it all up or strangling it by organizing it. "The
body is the body/it is all by i
tself/and has no need of organs/the body is never an
organism/ organisms are the enemies of the body."* Merely so many nails
piercing the flesh, so many forms of torture. In order to resist organ-machines,
the body without organs presents its smooth, slippery, opaque, taut surface as a
barrier. In order to resist linked, connected, and interrupted flows, it sets up a
counterflow of amorphous, undifferentiated fluid. In order to resist using words
composed of articulated phonetic units, it utters only gasps and cries that are

sheer unarticulated blocks of sound. We are of the opinion that what is ordinarily
referred to as "primary repression" means precisely that: it is not a
"countercathexis," but rather this repulsion of desiring-machines by the body
without organs. This is the real meaning of the paranoiac machine: the
desiring-machines attempt to break into the body without organs, and the body
                                   without organs repels them, since it experiences them as an over-all persecution
apparatus. Thus we cannot agree with Victor Tausk when he regards the
paranoiac machine as a mere projection of "a person's own body" and the genital
organs.8 The genesis of the machine lies precisely here: in the opposition of the
process of production of the desiring-machines and the nonproductive stasis of
the body without organs.

                                                 The anonymous nature of the machine and the
nondifferentiated nature of its surface are proof of this. Projection enters the
picture only secondarily, as does counter-investment,t as the body without organs
invests a counterinside or a counteroutside, in the form of
a persecuting organ or
some exterior agent of persecution.

But in and of itself the paranoiac machine is
merely an avatar of the desiring-machines: it is a result of the relationship
between the desiring-machines and the body without organs, and occurs when the
latter can no longer tolerate these machines.

*Antonin Artaud, in 84, nos. 5-6 (1948). The French text reads: "Le corps est !e co

*Antonin Artaud, in 84, nos. 5-6 (1948). The French text reads: "Le corps est !e corps/il est seul/et n'a pas
besoin d'organe/le corps n'est jamais un organisme/les organismes sont les ennemis du corps." {Translators'
note.) (Throughout, all English translations of works cited in the text are by the translators, unless otherwise
■fWe have adopted this term throughout, except when quoting directly from psychoanalytic literature,
because it renders more faithfully the meaning of Investlssement, which in French does service in libidinal
as well as political economy. We have likewise chosen to translate investir as "to invest" instead of "to
cathect." (Translators'note.)



speaks for himself .. its delightful and interesting to see how Celine sits|

his hands/ weigh heavy downward ( i cld. go on about this in related ways but ill leave it fr another time/ which rhymes with time/}

the great writer as the reactive force of the delire and its racist formations yes, this is heavy slogging in his work .. but between those terrible fantasms lie the hundred and more of rapturous escapes deterritorritalzing the molar moment of stratifictation and paranoia___ a 'real' paranoia that is wrongly informed of its true enemy.
____________________ a great writer indeed is often reactive. whether to right ((in Celine's instance) or to the left _______which also has its stratafications no less dangerous  in the lives of writers and their followers (think of Neruda's Stalinist moment agains the Trotskyist flight)the Lennist formation deterritoralizing versus the vast paranoid and very real machine of the Stalinist  conquest and destruction of whole peoples and their nations_____

 Real problems in a real world ______________________

 Not metaphors but machines real ones.


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