reorganized this site earlier today
[235] Pierrette Fleutiaux, *Histoire du gouffre et de la lunette et autres nouvelles* (Paris: Jul-liard, 1976), pp. 9–50.
[236] In another novella in the same collection, “Le dernier angle de transparence” (The last angle of transparency). Fleutiaux distinguishes three lines of perception, but without applying a preestablished schema. The hero has *molar perception,* which takes in overall aggregates and clear-cut elements, well-distributed areas of fullness and emptiness (this perception is coded, inherited, and overcoded by the walls: Don’t miss you chair, etc.). But he is also caught up in a *molecular perception* composed of fine and shifting segmentations and autonomous traits, where holes appear in what is full and microforms in emptiness, between two things, where everything “teems and stirs” with a thousand cracks. The hero’s problem is that he cannot make up his mind between the two lines and constantly jumps from one to the other. Will he be saved by a third line of perception, the *perception of escape,* a “hypothetical direction barely hinted at” by the angle of the two others, the “angle of transparency” opening a new space?
[237] Fernand Deligny, *Cahiers de I’immuable,* vol. 1, *Voix et voir, Recherches,* no. 8 (April 1975).
[238] Henri Laborit wrote a book “in praise of flight,” *Eloge de lafuite* (Paris: Laffont, 1976). In it, he demonstrates the biological importance of lines of flight among animals, but his approach is too formalistic; among human beings, he thinks flight is associated with values of the imaginary functioning to increase one’s “information” about the world.
[240] Leon Shestov, *Chekhov and Other Essays* (Ann Arbor: University of Michigan Press, 1966), pp. 8–9 [translation modified to agree with the French edition cited by the authors—Trans].
[241] Jacques Lizot, *Le cercle des Feux* (Paris: Seuil, 1976), p. 118
[242] Claude Levi-Strauss, *Structural Anthropology,* trans. Claire Jacobson and Brooke Grundfest Schoeft (New York: Basic Books, 1963): “Do Dual Organizations Exist?” pp. 132–163.
[243] See two exemplary studies in *African Political Systems,* ed. Meyer Frotes and E. E. Evans-Pritchard (New York: Oxford University Press, 1978): Fortes, “The Political System of the Tellensi of the Northern Territories of the Gold Coast,” pp. 239–271, and Evans-Pritchard, “The Nuer of the Southern Sudan,” pp. 272–296.
[244] Georges Balandier analyzes the ways in which ethnologists and sociologists define this opposition: *Political Anthropology,* trans. A. M. Sheridan Smith (New York: Pantheon, 1970), pp. 137–143.
[245] On the initiation of a shaman and the role of the tree among the Yanomami Indians, see Jacques Lizot, *Le cercle des feux,* pp. 127–135: “Between his legs a hole is hastily dug in which they place the base of the pole they erect there. Turaewe draws imaginary lines on the ground radiating in all directions. He says, ‘These are the roots.’ ”
and wrote some things
[246] The State, therefore, is not defined solely by the type of public powers it has, but also as a resonance chamber for private as well as public powers. It is for this reason that Althusser says: “The distinction between public and private is a distinction internal to bourgeois law, and valid in the subordinate domains where bourgeois law exercises its powers. The domain of the State eludes it because it is beyond Law.... It is on the contrary the foundation for any distinction between the public and the private.” “Ideologie et appareils ideologiques d’Etat,” *LaPensee,* no. 151 (June 1970), pp. 29–35.
[247] Jean-Pierre Vernant, *Mythe etpens’ee chez les Grecs* (Paris: Maspero, 1971–1974), vol. 1, part 3 (“When it becomes communal, when it is erected in the public and open space of the agora and no longer inside private residences... the hearth *[foyer:* also, focus, focal point— Trans.] expresses the center as common denominator of all of the houses constituting the *polis”;* p. 210).
[248] Paul Virilio, *L’insecurite du territoire* (Paris: Stock, 1975), pp. 120, 174–175. On “castrametation”: “Geometry is the necessary foundation for a calculated expansion of State power in space and time; conversely, this supplies the State with an ideal, sufficient figure, provided that the figure is ideally geometrical.... But Fenelon, voicing his opposition to the State policies of Louis XIV, exclaimed: ‘Beware the bewitchments and diabolical attributes of geometry!”’
[249] Meyer Fortes analyzes the difference among the Tellensi between “guardians of the earth” and chiefs. This distinction between powers is fairly widespread among primitive societies; but the important thing is that it is organized in such a way as to prevent the powers from resonating. For example, according to Louis Berthe’s analysis of the Baduj of Java, the power of the guardian of the earth, on the one hand, is considered to be passive and feminine but, on the other hand, is assigned to the eldest son: this is not an “intrusion of kinship into the political order” but on the contrary “a requirement of a political order translated in kinship terms” in order to prevent the establishment of a resonance leading to private property. See Berthe, “Aines et cadets, l’alliance et la hierarchie chez les Baduj,” *L’Homme,* vol. 5, nos. 3/4 (July-December 65), pp. 189–223.
[250] Franz Kafka, *The Castle,* trans. Willa and Edwin Muir (New York: Knopf, 1976), especially chapter 15 (Barnabas’s statements [the phrase quoted is on p. 228—Trans]). The parable of the two offices—molar and molecular—does not just have a physical interpretation, as in Eddington, but a properly bureaucratic one as well.
[251] The strength of Jean-Pierre Faye’s book, *Langages totalitaires* (Paris: Hermann, 1972), is that it illustrates the multiplicity of these focuses, both practical and semiotic, on the basis of which Nazism was constituted. That is why Faye is the first both to do a rigorous analysis of the concept of the totalitarian State (in its Italian and German origins) and to refuse to define Italian fascism and German Nazism by that concept (which operates on a different plane than the “subjacent process”). Faye goes into all of these points in *La critique du langage et son economie* (Paris: Galilee, 1973).
[252] On the complementarity between the “macropolitics of security” and the “micropoli-tics,” see Virilio, *L’insecurite du territoire,* pp. 96, 130, 228–235. The microorganization of permanent stress in large modern cities has frequently been noted.
[253] Valery Giscard d’Estaing, speech of June 1, 1976, before the Institut des Hautes Etudes de Defense Nationale (complete text in *Le Monde,* June 4, 1976).
[254] On the “flow with mutant power” and the distinction between the two kinds of money, see Bernard Schmitt, *Monnaie, salaires et profits* (Paris: Castella, 1980), pp. 236, 275–277.
[255] Michel Lelart, *Le dollar. Monnaie Internationale* (Paris: Albatros, 1975), p. 57.
just saw caves of forgotten dreams, by werner herzog
[256] Take Foucault’s analysis, in *Discipline and Punish,* trans. A. M. Sheridan Smith (New York: Vintage, 1975), of what he calls the “microphysics of power.” First, it is indeed a question of miniaturized mechanisms, or molecular focuses operating in detail or in the infinitely small and forming any number of “disciplines” in the school, army, factory, prison, etc. (see pp. 138ff.). But second, these segments themselves, and the focuses operating within them at the molecular level, present themselves as the singularities of an “abstract” diagram coextensive with the entire social field, or as quanta deducted from a flow of a nonspecific nature— the nonspecific flow being defined by “a multiplicity of individuals” to be controlled (see pp. 205ff. [translation modified]).
[257] On “quantitative sinfulness,” quanta, and the qualitative leap, one may refer to the microtheology constructed by Sdren Kierkegaard in *The Concept of Dread,* trans. Walter Lowrie (Princeton, N.J.: Princeton University Press, 1957).
[258] According to Tarde, psychology is quantitative, but only insofar as it studies the desire and belief components of sensation. And logic is quantitative when it does not restrict itself to forms of representation, but extends to degrees of belief and desire, and their combinations; see *La logique sociale* (Paris: Alcan, 1893).
[259] On all of these points, see especially Maurice Dobb, *Studies in the Development of* *Capitalism,* rev. ed. (New York: International Publishers, 1964), and Georges Duby, *The Early Growth of the European Economy: Warriors and Peasants from the Seventh to Twelfth Century,* trans. Howard E. Clarke (London: Weidenfeld & Nicolson, 1974).
[260] Rosa Luxemburg, in “Social Reform or Revolution,” and “Mass Strike, Party and Trade Unions,” in *Selected Political Writings,* ed. Dick Howard (New York: Monthly Review, 1971), formulated the problem of the differences and relations between masses and classes, but from a still-subjective point of view: masses as the “instinctual basis of class consciousness” (see Nicolas Boulte and Jacques Moiroux, “Masse et Parti,” *Partisans,* no. 45, *Rose Luxemburg vivante* [December-January 1969], pp. 29–38. Alain Badiou and Francois Balmes advance a more objective hypothesis: masses are “invariants” that oppose the State-form in general and exploitation, whereas classes are the historical variables that determine the concrete State, and, in the case of the proletariat, the possibility of its effective dissolution; *De I’ideologie* [Paris: Maspero, 1976]). But it is difficult to see, first of all, why masses are not themselves historical variables, and second, why the word is applied only to the exploited (the “peasant-plebeian” mass), when it is also suitable for seigneurial, bourgeois masses—or even monetary masses.
[261] Jules Michelet, *Histoire de France au seizieme siecle* in *Oeuvres Completes,* vol. 7, ed. Paul Viallaneix (Paris: Flammarion, 1971-).
[262] Henri Pirenne, *Mohammed and Charlemagne,* trans. Bernard Miall (New York: Norton, 1939), p. 22.
[263] See Emile Felix Gautier, *Genseric, roi des Vandales* (Paris: Payot, 1932). (“Precisely because they were the weakest, eternally being pushed from behind, they were forced to go the farthest.”)
[264] Totalitarianism is not defined by the size of the public sector because in many cases there is still a liberal economy. What defines it is the artificial constitution of “closed vessels,” particularly monetary and industrial. It is primarily in this sense that Italian fascism and German Nazism were totalitarian States, as demonstrated by Daniel Guerin in *Fascism and Big Business,* trans. Frances and Mason Merrill (New York: Pioneer Publishers, 1939), chapter 9.
[265] Foucault, *Discipline and Punish,* p. 27: “These relations go right down into the depths of society, they are not localized in the relations between the state and its citizens or on the frontier between classes and they do not merely reproduce... the general form of the law or government....They define innumerable points of confrontation, focuses of instability, each of which has its own risks of conflict, of struggle, and of an at least temporary inversion of the power relation.”
the postscript is just amazing. the whole doc is really great of course, but wow
[267] On these aspects of banking power, see Suzanne de Brunhoff, *L ‘offre de monnaie. Critique d’un concept* (Paris: Maspero, 1971), especially pp. 102–131.
[268] Carlos Castaneda, *The Teachings of Don Juan* (Berkeley: University of California Press, 1971), pp. 57–60.
[269] Maurice Blanchot, *L’amiti’e*(Paris: Gallimard, 1971), p. 232.
[270] F. Scott Fitzgerald, “The Crack-up,” in *The Crack-up. With Other Uncollected Pieces,* ed. Edmund Wilson (New York: New Directions, 1956), pp. 77–78, 81.
[271] [TRANS: See 12, “1227: Treatise on Nomadology,” Proposition IX, pp. 416–423.]
[272] Klaus Mann, *Mephisto,* trans. Robin Smith (New York: Random House, 1977), pp. 202–204. This kind of declaration abounds, at the very moment when the Nazis were succeeding. See Goebbels’s famous formulations: “In the world of absolute fatality in which Hitler moves, nothing has meaning any longer, neither good nor bad, time nor space, *and what other people call success cannot be used as a criterion....* Hitler will probably end in catastrophe”; *Hitler parle a ses generaux* (Paris: Albin Michel, 1964). This catastrophism can be reconciled with considerable satisfaction, good conscience and comfortable tranquillity. There is a whole bureaucracy of catastrophe. On Italian fascism, one may consult, in particular, the analysis of Maria-Antonietta Macciochi, “Sexualite feminine dans I’ideologie fasciste,” *Tel Quel,* no. 66 (Summer 1976), pp. 26–42: the women’s death squad, the public display of widows and mothers in mourning, the slogan *(mots d’ordre)* “Coffins and Cradles.”
[273] Paul Virilio, *L’insecurity du territoire,* chapter 1. Although Hannah Arendt identifies Nazism and totalitarianism, she expressed this principle of Nazi domination: “Their idea of domination was something that no state and no mere apparatus of violence can ever achieve, but only a movement that is constantly kept in motion”; *The Origins of Totalitarianism* (New York: Harcourt, Brace and World, 1966), p. 326; even the war, and the danger of losing the war, acted as accelerators (pp. 325–326, 394ff, 41 Off., 462ff).
; 10.1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible
[274] On the complementarity between series and structure, and how it differs from evolutionism, see Henri Daudin, *Cuvier et Lamarck. Les classes zoologiques et Tid’ee de serie animale,* vol. 2 *of Etudes d’histoire des sciences naturelles* (Paris: Alcan, 1926); and Michel Foucault, *The Order of ‘Things* (NewYork: Vintage, 1970).
[275] See Carl Jung, *Symbols of Transformation,* trans. R. F. C. Hull (New York: Harper, 1962), and Gaston Bachelard, *Lautr’eamont* (Paris: Librairie Jose Corti, 1939).
been a while since i’ve posted on this site. internet is a bit exhausting, but i do like having a shape to the week
[276] Claude Levi-Strauss, *Totemism,* trans. Rodney Needham (Boston: Beacon Press, 1963), p. 78.
[277] Jean-Pierre Vernant in *Problemes de la guerre en Grece ancienne (Civilisations et societes,* no. 11), ed. Jean-Pierre Vernant (The Hague: Mouton, 1968), pp. 15–16.
[278] On the opposition between sacrificial series and totemic structure, see Levi-Strauss, *The Savage Mind (Chicago:* University of Chicago Press, 1966), pp. 223–228. Despite all of his severity toward the series, Levi-Strauss recognizes the compromise between the two themes: structure itself implies a very concrete feeling for affinities (pp. 37–38) and is based on two series between which it organizes homologies of relations. In particular, “becoming-historical” can bring complications or degradations that replace these homologies with resemblances and identifications between terms (see pp. 115ff., and what Levi-Strauss calls the “flipside of totemism”).
[279] Jean Duvignaud, *L’anomie. Heresie et Subversion* (Paris: Ed. Anthropos, 1973).
[280] [TRANS: H. P. Lovecraft, “Through the Gates of the Silver Key,” in *The Dream-Quest of Unknown Kadath* (New York: Ballantine Books, 1970), pp. 191–192.]
[281] Hugo von Hofmannsthal, *Lettres du voyageur a son retour,* trans. Jean-Claude Schneider (Paris: Mercure de France, 1969), letter of May 9, 1901.
[282] *A nton Reiser* (extracts) in *La legende dispers’ee. A nthologie du romantisme allemand* (Paris: Union Generate d’Editions, 1976), pp. 36–43.
[283] [TRANS: *A Universal History of Infamy,* trans. Norman Thomas di Giovanni (New York: Dutton, 1972); Jorge Luis Borges and Margarita Guerrero, *Manual de zoolog’ia fantastica* (Mexico City: Fondo de Cultura Economica, 1957), p. 9. The *lobizbn* is a fantastic creature of Uruguayan folklore to which many shapes are attributed.]
[284] On the man of war, his extrinsic position in relation to the State, the family, and religion, and on the becomings-animal, becomings-wild animal he enters into, see Dumezil, in particular, *Mythes et dieux des Germains* (Paris: E. Leroux, 1939); *Horace et les Curiaces* (Paris: Gallimard, 1942); *The Destiny of the Warrior,* trans. Alf Hiltebeital (Chicago: University of Chicago Press, 1970); *Mythe et epopee* (Paris: Gallimard, 1968–1973), vol. 2. One may also refer to the studies on leopard-man societies, etc., in Black Africa; it is probable that these societies derive from brotherhoods of warriors. But after the colonial State prohibited tribal wars, they turned into crime associations, while still retaining their territorial and political importance. One of the best studies on this subject is Paul Ernest Joset, *Les societes secretes des hommes-Teopards en Afrique noire* (Paris: Payot, 1955). The becomings-animal proper to these groups seem to us to be very different from the symbolic relations between human and animal as they appear in State apparatuses, but also in pre-State institutions of the totemism type. Levi-Strauss clearly demonstrates that totemism already implies a kind of embryonic State, to the extent that it exceeds tribal boundaries *(The Savage Mind,* pp. 157ff.).
[285] [TRANS: Kafka, “Josephine the Singer, or the Mouse Folk,” in *The Complete Stories of* *Franz Kafka,* ed. Nahum N. Glazer (New York: Schocken, 1983).]
since i’ve been gone i’ve mostly been working on parapraxis. i probably haven’t written anything about it here so far, it’s just vaguely a roguelike deckbuilder inspired by psychoanalysis and playing wordle while incapacitated
[286] Georges Canguilhem, *On the Normal and the Pathological,* trans. Carolyn R. Fawcett, intro. Michel Foucault (Boston: Reidel, 1978), pp. 73–74.
[287] D. H. Lawrence: “I am tired of being told there is no such animal.... If I am a giraffe, and the ordinary Englishmen who write about me and say they know me are nice well-behaved dogs, there it is, the animals are different.... You don’t love me. The animal that I am you instinctively dislike”; *The Collected Letters ofD. H. Lawrence,* vol. 2, ed. Harry T. Moore (New York: Viking, 1962), letter to J. M. Murry, May 20, 1929, p. 1154.
[288] [TRANS: Herman Melville, *Moby Dick,* chapter 36, “The Quarter-Deck.”]
[289] Rene Thorn, *Structural Stability and Morphogenesis,* trans. D. H. Fowler (Reading, Mass.: Benjamin Fowler/Cummings, 1975), p. 319.
[290] Edward Leach, *Rethinking Anthropology (New* York: Humanities Press, 1971), pp. 18–25.
[291] [TRANS: Emile Erckmann and Alexandre Chatrian, *Hugues-le-loup* (Paris: J. Bonaventure, n.d.).]
[293] See Jacques Lacarriere, *Les hommes ivres de dieu* (Paris: Fayard, 1975).
[294] Pierre Gordon, in *Sex and Religion,* trans. Renee and Hilda Spodheim (New York: Social Science Publishers, 1949), studied the role of animal-men in rites of “sacred defloration.” These animal-men impose a ritual alliance upon filiative groups, themselves belong to brotherhoods that are on the outside or on the fringes, and are masters of contagion and epidemic. Gordon analyzes the reaction of the villages and cities when they begin to fight the animal-men in order to win the right to perform their own initiations and order their alliances according to their respective filiations (for example, the fight against the dragon). We find the same theme, for example, in Genevieve Calame-Griaule and Z. Ligers, “L’homme-hyene dans la tradition soudanaise,” *L’Homme,* 1, 2 (May-August 1961), pp. 89–118: the hyena-man lives on the fringes of the village, or between two villages, and can keep a lookout in both directions. A hero, or even two heroes with a fiancee in each other’s village, triumphs over the man-animal. It is as though it were necessary to distinguish two very different states of alliance: a demonic alliance that imposes itself from without, and imposes its law upon all of the filiations (a forced alliance with the monster, with the man-animal), and a consensual alliance, which is on the contrary in conformity with the law of filiations and is established after the men of the villages have defeated the monster and have organized their own relations. This sheds new light on the question of incest. For it is not enough to say that the prohibition against incest results from the positive requirements of alliance in general. There is instead a kind of alliance that is so foreign and hostile to filiation that it necessarily takes the position of incest (the man-animal always has a relation to incest). The second kind of alliance prohibits incest because it can subordinate itself to the rights of filiation only by lodging itself, precisely, between two distinct filiations. Incest appears twice, once as a monstrous power of alliance when alliance overturns filiation, and again as a prohibited power of filiation when filiation subordinates alliance and must distribute it among distinct lineages.
[295] [<sub>TRANS</sub>: See Fitzgerald, “The Crack-up,” in *The Crack-up. With Other Uncollected* *Pieces,* ed. Edmund Wilson (New York: New Directions, 1956). The allusion to Faust is to Goethe, *Faust,* Part I, lines 1323–1324.]
[296] Richard Matheson and Isaac Asimov are of particular importance in this evolution (Asimov extensively develops the theme of symbiosis).
tbh i haven’t even thought about this in a long while, but suddenly i remember playing sedecordle or other crazyyy wordle clones while stoned years ago. i wonder when that was…
[297] Carlos Castaneda, *Tales of Power* (New York: Simon and Schuster, 1974), p. 159.
[298] [TRANS: Lovecraft, “Through the Gates of the Silver Key,” p. 197.]
[299] See D. H. Lawrence, the first and second poems of *Tortoises* (New York: T. Selzer, 1921).
[300] [TRANS: Virginia Woolf, *The Waves* (New York: Harcourt Brace Jovanovich, 1931), p. 139.]
[301] See the Inquisition manual, *Le marteau des sorciers* (1486), ed. H. Institoris and J. Sprengler (Paris: Plon, 1973), vol. l,p. 10,andvol. 2, p. 8. The first and simplest case is that of Ulysses’ companions, who believed themselves, and were believed to have been, transformed into pigs (or again, King Nebuchadnezzar, transformed into an ox). The second case is more complicated: Diomedes’ companions do not believe they have been changed into birds, since they are dead, but demons take over birds’ bodies and pass them off as those of Diomedes’ companions. The need to distinguish this more complex case is explained by phenomena of transfer of affects; for example, a lord on a hunting excursion cuts off the paw of a wolf and returns home to find his wife, who had not left the house, with a hand cut off; or a man strikes cats, and the exact wounds he inflicts turn up on women.
[302] On the problem of intensities in the Middle Ages, the proliferation of theses on this topic, the constitution of kinetics and dynamics, and the particularly important role of Nicholas Oresme, see Pierre Duhem’s classic work, *Le systeme du monde* (Paris: A. Hermann & Fils, 1913–1959), vols. 7–9 *(La physiqueparisienne au XlVesiecle).*
[303] Etienne Geoffroy Saint-Hilaire, *Principes dephilosophie zoologique*(Paris: Picton et Didier, 1930). And on particles and their movements, *Notions synth’etiques, historiques et physiologiques de philosophie naturelle* (Paris: Denain, 1838).
[304] Vladimir Slepian, “Fils de chien,” *Minuit,* no. 7 (January 1974). We have given a very simplified presentation of this text.
[305] See Roger Dupouy, “Du masochisme,” *Annales M’edico-psychologiques,* series 12, vol. 2 (1929), p. 405.
[306] This is sometimes written “eccei ty,” deriving the word from *ecce,* “here is.” This is an error, since Duns Scotus created the word and the concept from *haec,* “this thing.” But it is a fruitful error because it suggests a mode of individuation that is distinct from that of a thing or a subject.
nothing lasts really, of course, but seeing that film, i so badly want to go find a cave somewhere and draw horses and rhinos on the walls
[307] Michel Tournier, *Les meteores* (Paris: Gallimard, 1975), chapter 23, “L’ame deployee.”
[308] [TRANS: On *Aeon* versus *chronos,* see Deleuze, *Logique du sens* (Paris: Minuit, 1969), especially series 23, pp. 190–197.]
[309] Pierre Boulez, *Conversations with Celestin Deliege* (London: Eulenberg Books, 1976), pp. 68–71 (“It is not possible to introduce phenomena of tempo into music that has been calculated only electronically, in ... lengths expressed in seconds or microseconds”; p. 70).
[310] Ray Bradbury, *The Machineries of Joy (New* York: Simon and Schuster, 1964), p. 53.
[311] [TRANS: Virginia Woolf, *Mrs. Dalloway* (New York: Harcourt Brace and World, 1925), p. 11.]
[312] Gustave Guillaume has proposed a very interesting conception of the verb. He distinguishes between an interior time, enveloped in the “process,” and an exterior time pertaining to the distinction between epochs *(Epoques et niveaux temporels dans lesysteme de la conjugaisonfrancaise, Cahiers de linguistique structurale* [Universite de Laval, Quebec], no. 4 <verbatim>[1955]).</verbatim> It seems to us that these two poles correspond respectively to the infinitive-becoming, Aeon, and the present-being, Chronos. Each verb leans more or less in the direction of one pole or the other, not only according to its nature, but also according to the nuances of its modes and tenses, with the exception of “becoming” and “being,” which correspond to both poles. Proust, in his study of Flaubert’s style, shows how the imperfect tense in Flaubert takes on the value of an infinitive-becoming: *Chroniques* (Paris: Gallimard, 1927), pp. 197–199.]
[313] On the problem of proper names (in what sense is the proper name outside the limits of classification and of another nature, and in what sense is it at the limit and still a part of classification?), see Alan Henderson Gardiner, *The Theory of Proper Names,* 2<sup>nd</sup> ed. (New York: Oxford University Press, 1957), and Levi-Strauss, *The Savage Mind,* chapter 7 (“Time Regained”), pp. 217–244.
[314] We have already encountered this problem of the indifference of psychoanalysis to the use of the indefinite article or pronoun among children: as early as Freud, but more especially in Melanie Klein (the children she analyzes, in particular, Little Richard, speak in terms of “a,” “one,” “people,” but Klein exerts incredible pressure to turn them into personal and possessive family locutions). It seems to us that Laplanche and Pontalis are the only ones in psychoanalysis to have had any inkling that indefinites play a specific role; they protested against any overrapid interpretive reduction: “Fantasme originaire,” *Les temps modernes,* no. 215 (April 1964), pp. 1861, 1868.
[315] See the subjectivist or personalist conception of language in Emile Benveniste, *Problems in General Linguistics,* trans. Mary Elizabeth Meek (Coral Gables, Fla.: University of Miami Press, 1971), chapters 20 (“Subjectivity in Language,” pp. 223–230) and 21 (“Analytical Philosophy and Language,” pp. 231–238), especially pp. 220–221 and 225–226.
[316] The essential texts of Maurice Blanchot serve to refute the theory of the “shifter” and of personology in linguistics. See *L’entretien infini* (Paris: Gallimard, 1969), pp. 556–567. And on the difference between the two propositions, “I am unfortunate” and “he is unfortunate,” or between “I die” and “one dies,” see *La part du feu* (Paris: Gallimard, 1949), pp. 29–30, and *The Space of Literature,* trans. Ann Smock (Lincoln: University of Nebraska Press, 1982), pp. 90, 122, 126. Blanchot demonstrates that in all of these cases the indefinite has nothing to do with “the banality of daily life,” which on the contrary would be on the side of the personal pronoun.
i get why they could never ever, but i wish that they would have gotten 1 or 2 shots with all the electric lights in the cave off, and using only flames for lighting. under no circumstances can i ever become a museum caretaker, or else there would not be a museum
[317] [TRANS: These quotes, the first from Nietzsche, the second from Kafka, are quoted more fully in 12, “1227: Treatise on Nomadology,” p. 353.]
[318] For example, Francois Cheng, *Chinese Poetic Writing,* trans. Donald A. Riggs and Jerome P. Seaton (Bloomington: Indiana University Press, 1982), his analysis of what he calls “the passive procedures,” pp. 23–42.
[319] See the statements of the “repetitive” American musicians, particularly Steve Reich and Philip Glass.
[320] Nathalie Sarraute, in *The Age of Suspicion,* trans. Marie Jolas (New York: Braziller, 1963), shows how Proust, for example, is torn between the two planes, in that he extracts from his characters “the infinitesimal particles of an impalpable matter,” but also glues all of the particles back into a coherent form, slips them into the envelope of this or that character. See pp. 50, 94–95.
[321] See the distinction between the two Planes in Artaud. One of them is denounced as the source of all illusions: *The Peyote Dance* (translation of Las *Tarahumaras),* trans. Helen Weaver (New York: Farrar, Straus and Giroux, 1976), pp. 12–13.
[322] Robert Rovini, introduction to Friedrich Holderlin, *Hyperion* (Paris: 10/18,1968).
[323] We have referred to an unpublished study of Kleist by Mathieu Carriere.
[324] “Where did the title of your second book, *A Year From Monday,* come from?” “From a plan a group of friends and I made to meet each other again in Mexico ‘a year from next Monday.’ We were together on a Saturday. And we were never able to fulfil that plan. It’s a form of silence.... The very fact that our plan failed, the fact we were unable to meet does not mean that everything failed. The plan wasn’t a failure”; John Cage and Daniel Charles, *For the Birds* (Boston: Marion Boyers, 1981), pp. 116–117.
[325] That is why we were able to take Goethe as an example of a transcendental plane. Goethe, however, passes for a Spinozist; his botanical and zoological studies uncover an immanent plane of composition, which allies him to Geoffrey Saint-Hilaire (this resemblance has often been pointed out). Nonetheless, Goethe retains the twofold idea of a development of form and a formation-education of the Subject; for this reason, his plane of immanence has already crossed over to the other side, to the other pole.
[326] On all of these points (proliferations-dissolutions, accumulations, indications of speed, the affective and dynamic role), see Pierre Boulez, *Conversations with Celestin Deliege,* pp. 21–22, 68–71. In another text, Boulez stresses a little-known aspect of Wagner: not only are the leitmotifs freed from their subordination to the scenic characters, but the speeds of development are freed from the hold of a “formal code” or a tempo (“Le temps re-cherche,” in *Das Rheingold Programmheft,* vol. I [Bayreuth, 1976], pp. 3–11). Boulez pays homage to Proust for being one of the first to understand this floating and transformable role of Wagnerian motifs.
i originally was working on parapraxis in 2024 summer. at the end of that summer i realized that the game was spiritually in the tradition of stargazing. if my next game is also spiritually night, perhaps i’d like to make it in the tradition of caves, shadow puppets, plato’s allegory etc…
[327] The themes of speed and slowness are most extensively developed in *The Captive:* “To understand the emotions which they arouse, and which others even better-looking do not, we must realise that they are not immobile, but in motion, and add to their person a sign corresponding to that which in physics denotes speed... to such beings, such fugitive beings, their own nature and our anxiety fasten wings”; vol. 3 *oi Remembrance of Things Past,* trans. C. K. Moncrieff, Terence Kilmartin, and Andreas Mayor (New York: Random House, 1981), pp. 86–87, 88.
[328] [TRANS: The word translated as “proximity” is *voisinage,* which Deleuze and Guattari draw from set theory. The corresponding mathematical term in English is “neighborhood.”]
[329] Louis Wolfson, *Leschizo et les langues,* preface by Gilles Deleuze (Paris: Gallimard, 1970).
[330] Rene Scherer and Guy Hocquenghem, *Co-ire, Recherche,* no. 22 (1976), pp. 76–82: see their critique of Bettelheim’s thesis, which considers the becomings-animal of the child merely an autistic symbolism that expresses the anxiety of the parents more than any reality of the child. See Bruno Bettelheim, *The Empty Fortress* (New York: Free Press, 1967).
[331] Philippe Gavi, “Les philosophes du fantastique,” *Liberation,* March 31, 1977. For the preceding cases, what we must arrive at is an understanding of certain so-called neurotic behaviors as a function of becomings-animal, instead of relegating becomings-animal to a psychoanalytic interpretation of behaviors. We saw this in relation to masochism (and Lolito explains that the origin of his feats lies in certain masochistic experiences; a fine text by Christian Maurel conjugates a becoming-monkey and a becoming-horse in a masochistic pairing). Anorexia would also have to be understood from the point of view of becoming-animal.
[333] See Trost, *Visible et invisible* (Paris: Arcanes) and *Librement m’ecanique* (Paris: Minotaure): “She was simultaneously, in her sensible reality and in the ideal prolongation of her lines, like the projection of a human group yet to come.”
[334] See the examples of structural explanation proposed by Jean-Pierre Vernant, in *Problemes de la guerre en Grece ancienne,* pp. 15–16.
[335] On transvestism in primitive societies, see Bruno Bettelheim (who offers an identificatory psychological interpretation), *Symbolic Wounds* (Glencoe, 111.: Free Press, 1954), and especially Gregory Bateson (who proposes an original structural interpretation), *Naven: A Survey of the Problems Suggested by a Composite Picture of the Culture of a New Guinea Tribe Drawn from Three Points of Views,* 2<sup>nd</sup> ed. (Stanford, Calif.: Stanford University Press, 1958).
[337] *The Diary of Virginia Woolf,* ed. Anne Olivier Bell (London: Hogarth Press, 1980), vol. 3, p. 209: “The idea has come to me that what I want now to do is to saturate every atom.” On all of these points, we make use of an unpublished study on Virginia Woolf by Fanny Zavin.
[338] [TRANS: Sdren Kierkegaard, *Fear and Trembling,* trans. Walter Lowrie (Princeton, N.J.: Princeton University Press, 1954), p. 104.]
idk if i’m gonna be as explicit about goal setting as i was in previous iterations of this blog. it helps a bit i guess
[339] Ibid., .p. 49. *Fear and Trembling* seems to us to be Kierkegaard’s greatest book because of the way it formulates the problem of movement and speed, not only in its content, but also in its’style and composition.
[341] Carlos Castaneda, *Journey to Ixtlan* (New York: Simon and Schuster, 1973), pp. 297ff.
[342] Leslie Fiedler, *The Return of the Vanishing American* (New York: Stein and Day, 1968). Fiedler explains the secret alliance of the white American with the black or the Indian by a desire to escape the molar form and ascendancy of the American woman.
[343] Henri Michaux, *Miserable Miracle: Mescaline,* trans. Louise Varese (San Francisco: City Lights, 1963), p. 87: “The horror of it was that I was nothing but a line. In normal life one is a sphere, a sphere that surveys panoramas.... Now only a line... the accelerated line I had become.” See Michaux’s line drawings. In the first eighty pages of *The Major Ordeals of the Mind, and the Countless Minor Ones,* trans. Richard Howard (New York: Harcourt Brace Jovanovich, 1974), Michaux further develops the analysis of speeds, molecular perceptions, and “microphenomena” or “microoperations.”
[344] [TRANS: A rewriting of Freud’s famous phrase, “Where id was, there ego shall be” *(New Introductory Lectures, Standard Edition,* vol. 22, p. 80), and Lacan’s earlier rewriting of it in “The Freudian Thing,” *Ecrits,* trans. Alan Sheridan (New York: Norton, 1977), pp. 128–129,136.]
[346] Michaux, *Miserable Miracle* (“Remaining Master of One’s Speeds,” pp. 87–88).
[347] On the possibilities of silicon, and its relation to carbon from the point of view of organic chemistry, see the article, “Silicium,” in the *Encyclopedia Universalis.*
[348] Luc de Heusch shows that it is the man of war who brings the secret: he thinks, eats, loves, judges, arrives in secret, while the man of the State proceeds publicly. See *Le roi ivre ou I’origine de VEtat* (Paris: Gallimard, 1972). The idea of the State secret is a late one and assumes that the war machine has been appropriated by the State apparatus.
[349] In particular, Georg Simmel. See *The Sociology ofGeorg Simmel,* trans. Kurt H. Wolff (Glencoe, 111.: Free Press, 1950), chapter 3.
[350] Paul Ernest Joset clearly notes these two aspects of the secret initiatory society, the Mambela of the Congo: on the one hand, its relation of influence over the traditional political leaders, which gets to the point of a transfer of social powers; and on the other hand, its de facto relation with the Anioto, as a secret hindsociety of crime or leopard-men (even if the Anioto are of another origin than the Mambela). See *Les societes secretes des hommes-leopards en Afrique noire,* chapter 5.
this past week i’ve been working on debt UI. it must be functional by the end of the week. i’d also like to make de/reterritorialization functional too
[351] On the psychoanalytic conceptions of the secret, see *Du secret, Nouvelle revue de psychanalyse,* no. 14 (Fall 1976); and for the evolution of Freud on this subject, the article by Claude Girard, “Le secret aux origines,” pp. 55–83.
[352] Bernard Pingaud shows, on the basis of the exemplary text of Henry James, “The Figure in the Carpet” *[The Novels and Tales of Henry James* (New York: C. Scribner’s Sons, 1907–1917), vol. 15—Trans.], how the secret jumps from content to form, and escapes both: *Du secret,* pp. 247–249. This text has been frequently commented upon from the viewpoint of psychoanalysis; above all, J.-B. Pontalis, *Apres Freud* (Paris: Gallimard, 1968). But psychoanalysis remains prisoner to a necessarily disguised content and a necessarily symbolic form (structure, absent cause ...), at a level that defines both the unconscious and language. That is why, in its aesthetic or literary applications, it misses the secret *in* an author, as well as the secret <em>oj</em>an author. The same goes for the secret of Oedipus: they concern themselves with the first two kinds of secret but not with the second, which is nevertheless the most important.
[353] On the fogginess of the idea of majority, see Kenneth Arrow’s two famous themes, “the Condorcet effect” and the “theorem of collective decision.”
[354] See William Faulkner, *Intruder in the Dust (New* York: Vintage, 1948), p. 216. Speaking of Southern whites after the Civil War (not only the poor but also the old monied families), Faulkner writes, “We are in the position of the German after 1933 who had no other alternative but to be a Nazi or a Jew.”
[355] The subordination of the line to the point is clearly evident in the arborescent schemas: see Julien Pacotte, *Le reseau arborescent, scheme primordial de la pensee* (Paris: Hermann, 1936), and the status of centered or hierarchical systems according to Pierre Rosenthiehl and Jean Petitot, “Automate asocial et systemes acentres,” *Communications,* no. 22 (1974), pp. 45–62. The arborescent schema of majority could be presented as follows:
[356] A line of becoming, in relation to the localizable connection of A and B (distance), or in relation to their contiguity:
[357] *The Diary of Virginia Woolf,* vol. 3, p. 236 (Wednesday, November 28, 1928). The same thing applies to the works of Kafka, in which childhood blocks function as the opposite of childhood memories. Proust’s case is more complicated because he performs a mixture of the two. The situation of the psychoanalyst is to grasp memories or phantasies, but never childhood blocks.
[358] For example, in the system of memory, the formation of a memory implies a diagonal that turns present A into representation A’ in relation to the new present B, and into A” in relation to C, etc.:
<br>See Edmund Husserl, *The Phenomenology of Internal Time-Consciousness,* ed. Martin Heidegger, trans. James S. Churchill, intro. Calvin O. Schrag (Bloomington: Indiana University Press, 1964), pp. 48–50.
[359] Friedrich Nietzsche, *Untimely Meditations,* trans. R. J. Hollingdale (New York: Cambridge University Press, 1983), “On the Uses and Disadvantages of History for Life,” sec. 1, pp. 63–64.
i probably won’t get much farther, but if i do, the next thing to finish up is user interface for end of diagrammatic component
[360] On all of these themes, see Pierre Boulez. (1) On how transversals always tend to escape horizontal and vertical coordinates of music, sometimes even drawing “virtual lines,” see *Notes of an Apprenticeship,* ed. Paule Thevenin, trans. Robert Weinstock (New York: Knopf, 1968), pp. 231 -232,295–301,382–383. (2) On the idea of the sound block or “block of duration,” in relation to this transversal, see *Boulez on Music Today,* trans. Susan Bradshaw and Richard Bennett (Cambridge, Mass.: Harvard University Press, 1971), pp. 55–59. (3) On the distinction between points and blocks, “punctual sets,” and “aggregative sets” with varying individuality, see “Sonate que me veux-tu?”, *Mediations,* no. 7 (1964). The hatred of memory appears frequently in Boulez; see “Eloge de l’amnesie,” *Musique enjeu,* no. 4 (1971), pp. 5–14, and “J’ai horreur du souvenir,” in *Roger Desormiere et son temps,* ed. Denise Mayer and Pierre Souvtchinsky (Monaco: Ed. du Rocher, 1966). Confining ourselves to contemporary examples, one finds analogous declarations in Stravinsky, Cage, Berio. Of course, there is a musical memory that is tied to coordinates and is exercised in social settings (getting up, going to bed, beating a retreat). But the perception of a musical “phrase” appeals less to memory, even of the reminiscence type, than to an extension or contraction of perception of the encounter type. It should be studied how each musician sets in motion veritable *blocks of forgetting:* for example, what Jean Barraque calls “slices of forgetting” and “absent developments” in the work of Debussy; *Debussy* (Paris: Seuil, 1977), pp. 169–171. One can refer to a general study by Daniel Charles, “La musique etl’oubli,” *Traverses,* no. 4 (1977), pp. 14–23.
[361] Roland Barthes, “Rasch,” in *The Responsibility of Forms,* trans. Richard Howard (New York: Hill and Wang, 1985), pp. 300–302, 308–309.
[362] There are many differences among painters, in all respects, but also a common movement: see Wassily Kandinsky, *Point and Line to Plane* in vol. 2 of *Complete Writings on Art,* ed. Kenneth C. Lindsay and Peter Vergo (Boston: G. K. Hall, 1982), pp. 524–700; and Paul Klee, *On Modern Art,* trans. Paul Findlay, intro. Herbert Reed (London: Faber, 1966). The aim of statements like those of Mondrian on the exclusive value of the vertical and the horizontal is to show the conditions under which the vertical and horizontal are sufficient to create a transversal, which does not even have to be drawn; for example, coordinates of unequal thickness intersect inside the frame and extend outside the frame, opening a “dynamic axis” running transversally (see Michel Butor’s comments in *Repertoire* [Paris: Minuit, 1960—], vol. 3, “Le carre et son habitant”). One can also consult Michel Fried’s article on Pollock’s line, *Three American Painters* (Cambridge, Mass.: Fogg Art Museum, 1965), and Henry Miller’s discussion of Nash’s line, *On Turning Eighty* (London: Village Press, 1973).
[363] “There was something tense, exasperated to the point of intolerable anger, in his good-humored breast, as he played the finely-spun peace-music. The more exquisite the music, the more perfectly he produced it, in sheer bliss; and at the same time, the more intense was the maddened exasperation within him”; D. H. Lawrence, *Aaron’s Rod* (New York: Thomas Seltzer, 1922), p. 16.
[364] Although Luciano Berio indicates otherwise, it seems to us that his work, *Visage,* is composed according to the three states of faciality: first, a multiplicity of sound bodies and silhouettes, then a short symphonic and dominant organization of the face, and finally a launching of probe-heads in all directions. However, there is no question here of music “imitating” the face and its avatars, or of the voice constituting a metaphor. Instead, the sounds accelerate the deterritorialization of the face, giving it a properly acoustical power, and the face reacts musically by in turn inducing a deterritorialization of the voice. This is a molecular face, produced by electronic music. The voice precedes the face, itself forms the face for an instant, and outlives it, increasing in speed—on the condition that it is unarticulated, asignifying, asubjective.
[365] Will Grohman, *Paul Klee* (New York: Harry N. Abrams, n.d.): “Somewhat paradoxically he remarked that perhaps it had been his good fortune to develop painting, at least on the formal plane, to the stage reached in music by Mozart” (p. 71).
[366] Dominique Fernandez, *La rose des Tudors* (Paris: Julliard, 1976) (and the novel *Porporino* [Paris: Grasset, 1974]). Fernandez cites pop music as a timid return to great English vocal music. It would be necessary to take into consideration techniques of circular breathing, in which one sings breathing in as well as out, or of sound filtering using zones of resonance (nose, forehead, cheekbones—a properly musical use of the face).
[367] Marcel More, *Le dieu Mozart et le monde des oiseaux* (Paris: Gallimard, 1971).
[368] As we have seen, imitation can be conceived either as a resemblance of terms culminating in an archetype (series), or as a correspondence of relations constituting a symbolic order (structure); but becoming is not reducible to either of these. The concept of mimesis is not only inadequate, it is radically false.
[369] Francois Truffaut, *Hitchcock(New* York: Simon and Schuster, 1967): “I took the dramatic licence of not having the birds scream at all” (p. 224).
i also need to add a weather system to machinic
[370] See Ernesto de Martino, *La terredu remords* (Paris: Gallimard, 1966), pp. 142–170. Martino, however, retains an interpretation based on the archetype, imitation, and identification.
[371] Jean Claude *Larouche, Alexis le trotteur* (Montreal: Ed. du Jour, 1971). They quote this account: “He didn’t play music with his mouth like one of us; he had a huge harmonica we couldn’t even play.... When he played with us, he would decide all of a sudden to double us. In other words, he doubled the beat; in the time we played one beat, he played two, which required extraordinary wind” (p. 95).
[372] [TRANS: See Kafka, *The Castle,* trans. Willa and Edwin Muir (New York: Knopf, 1976).]
[374] Andre Tetry, *Les outils chez les etres vivants* (Paris: Gallimard, 1948), the chapter on “musical instruments,” with bibliography. An animal’s movement or labor may make noise, but we speak of a musical instrument whenever animals use apparatuses whose sole function is to produce various sounds (the musical character, to the extent that it is determinable, is quite variable, as is the case with the vocal apparatus of birds; there are veritable virtuosos among insects). From this standpoint, we distinguish: (1) stridulatory apparatuses, of the stringed instrument type: the rubbing of a rigid surface against another surface (insects, crustaceans, spiders, scorpions, pedipalps); (2) percussive apparatuses, of the drum, cymbal, or xylophone type: direct application of muscles to a vibratory membrane (crickets and certain fish). Not only is there an infinite variety of apparatuses and sounds, but the same animal varies its rhythm, tonality, intensity according to still more mysterious urgencies. “It then becomes a song of anger, anxiety, fear, triumph, love. When there is keen excitation, the rhythm of the stridulation varies: in *Crioceris lilii,* the frequency of the rubbing goes from 228 strokes per minute to 550 or more.”
[375] Gisele Brelet, “Musique contemporaine en France,” in *Histoire de la musique,* ed. Roland Manuel, “Pleiade” (Paris: Gallimard, 1977), vol. 2, pp. 1166.
[376] A text by Henry Miller for Varese, *The Air-ConditionedNightmare* (New York: New Directions, 1945), pp. 176–177.
[377] Fernand Deligny, *Voix et Voir, Recherches,* no. 8 (April 1975), on the way in which, among autistic children, a “line of drift” deviates from the customary path and begins to “vibrate,” “toss about,” “yaw.”
[378] Paul Klee, *On Modern Art,* trans. Paul Findlay, intro. Herbert Reed (London: Faber, 1966), p. 43 [translation modified to agree with the French version cited by the authors]. See Henri Maldiney’s comments in *Regard, parole, espace* (Lausanne: L’Age d’homme, 1973), pp. 149–151.
[379] On the musical nome, the ethos, and the ground or land, notably in polyphony, see Joseph Samson in *Histoire de la musique,* ed. Roland Manuel (Paris: Gallimard, 1977), vol. 2, pp. 1168–1172. One may also refer to the role in Arab music of the “maqam,” which is both a modal type and a melodic formula: Simon Jargy, *La musique arabe* (Paris: PUF, 1971), pp. 55ff.
[380] Gaston Bachelard, *La dialectique de la dur’ee* (Paris: Bovin, 1936), pp. 128–129. Emphasis added.
feature creep go brrrr
[381] Jakob Johann von Uexkiill, *Mondesanimauxet mondehumain* (Paris: Gonthier, 1965).
[382] “Their glorious dress is constant.... The coloring of coral fish is distributed in large, sharply contrasting areas of the body. This is quite different from the color patterns not only of most fresh-water fish but of nearly all less aggressive and less territorial fish.... Like the colors of the coral fish, the song of the nightingale signals from a distance to all members of its species that a territory has found an owner.” Konrad Lorenz, *On Aggression,* trans. Marjorie Kerr Wilson (New York: Harcourt, Brace and World, 1966), pp. 19–20.
[383] Irenaus Eibl-Eibesfeldt, *Ethology,* trans. Erich Klinghammer (New York: Holt, Rinehart and Winston, 1975): on monkeys, p. 487; on rabbits, p. 346; on birds, p. 171: “Zebra finches with colorful plumage maintain a certain distance from one another, while all-white birds of the same species perch much closer together.”
[384] W. H. Thorpe, *Learning and Instinct in Animals* (London: Methuen, 1956), p. 364 (Fig. 2).
[385] Lorenz has a constant tendency to present territoriality as an effect of intraspecific aggression; see *On Agression,* pp. 38–39, 42–43, 53–54, 161–162.
[386] On the aesthetic and vital primacy of “having,” see Gabriel Tarde, *L’opposition universelle* (Paris: Alcan, 1897).
[387] Details on Messiaen’s conceptions of bird song, his evaluation of its aesthetic qualities, and his methods for both reproducing it and using it as a material are to be found in Claude Samuel, *Conversations with Olivier Messiaen,* trans. Felix Aprahamian (London: Stainer and Bell, 1976), and in Antoine Golea, *Rencontres avec Olivier Messiaen* (Paris: Julliard, 1961). In particular, on why Messiaen does not use a tape recorder or sonograph as ornithologists usually do, see Samuel, pp. 61–63.
[389] On all of these points, see Claude Samuel, *Conversations,* chapter 4. On the “rhythmic character,” see pp. 36–39.
[390] Pierre Boulez, “Le temps re-cherche,” in *Das Rheingold Programmheft,* vol. 1 (Bayreuth, 1976), pp. 5–15.
[391] [<sub>TRANS</sub>: Proust, *The Captive,* vol. 3 *of Remembrance of Things Past,* trans. C. K. Scott Moncrief, Terence Kilmartin, and Andreas Mayor (New York: Random House, 1981), p. 156. Translation modified.]
there aren’t that many more additional mechanics to scaffold, but i do want to have scaffolded everything that pertains to 2 of the 3 playstyles so that the game can be tested by people who aren’t me and not totally suck, have there be decisions to make in time. while that’s happening, i can work on the final playstyle, and then by the time the first draft of the 3rd playstyle is done i’ll hopefully have a better idea of how to tune the economy, what is working what isn’t, and the dev process can become a bit more circular…
[392] On mannerism and chaos, baroque dances, and the relation of schizophrenia to mannerism and dance, see Evelyne Sznycer, “Droit de suite baroque,” in *Schizophrenic et art,* ed. Leo Navratil (Paris: Ed. Complexe, 1978).
[393] Lorenz, *On Aggression,* pp. 39–40. On the three rhythmic personages defined respectively as active, passive, and witness, see Messiaen and Golea, *Rencontres,* pp. 90–91.
[394] [TRANS: Mircea Eliade, *Patterns in Comparative Religion,* trans. Rosemary Sheed (New York: World, 1963), pp. 242–243.]
[395] [TRANS: This “close embrace” of energies recalls Proust’s description of Vinteuil’s little phrase; *The Captive,* p. 262.]
[396] On “the primary intuition of the earth as a religious form” (p. 242), see Eliade, *Patterns in Comparative Religion,* pp. 245ff.; on the center of the territory, see pp. 374ff. Eliade makes it clear that the center is simultaneously outside the territory, very difficult to attain, and inside the territory, within our immediate reach.
[397] Biologists have often made a distinction between two factors of transformation: those of the mutation type, and processes of isolation or separation, which may be genetic, geographical, or even psychical. Territoriality would be a factor of the second type. See Lucien Cuenot, *L’espece*(Paris: G. Doin, 1936).
[398] Paul Geroudet, *Lespassereaux,* 3 vols. (Paris: Delachaux et Niestle, 1951–1957), vol. 2, pp. 88–94.
[399] In *On Aggression,* Lorenz makes a clear distinction between “anonymous flocks” such as schools of fish, which form milieu blocks; “local groups,” where recognition occurs only inside the territory and, at its strongest, between “neighbors”; and finally, societies founded on an autonomous “bond.”
[400] K. Immelmann, *Beitr’age zu einer vergleichenden Biologie australischer Prachtfinken, Zoologische Jahrbucher; Abteilung fur Systematik, Okologie und Geographic de Tiere,* 90 (1962).
[401] Eibl-Eibesfeldt, *Ethology,* p. 225: “Carrying nesting material for nest building evolved into the male courtship actions using grass stems. This was again secondarily reduced in some species and became rudimentary, while at the same time the song, which originally served the function of staking out a territory, also underwent a change in function. These animals are gregarious and are not really territorial. Instead of courting with grass stems, these males sing softly while sitting next to the females.” Eibl-Eibesfeldt, however, interprets the grass-stem behavior as a vestige.
that’s my overall vision of things
[402] See *L’Odyss’ee sous-marine de I’equipe Cousteau,* film no. 36, *La marche des langoustes* (L. R. A.), commentary by Cousteau-Diole: spiny lobsters along the northern coast of the Yucatan Peninsula sometimes leave their territories. They assemble, at first in small groups, before the first winter storm, and before any sign detectable by human instruments. When the storm comes, they form long march processions, in single file, with a leader that is periodically relieved and a rearguard (the speed of the march is five-eighths of a mile per hour, for sixty miles or more). This migration does not seem to be associated with egg laying, which does not take place until six months later. Hernnkind, a lobster specialist, hypothesizes that this is a “vestige” from the last ice age (more than 10,000 years ago). Cousteau leans toward a more current interpretation, even mentioning the possibility that it is a premonition of a new ice age. The factual issue is that in this exceptional case the lobsters’ territorial assemblage opens onto a social assemblage, and that this social assemblage is connected to cosmic forces, or, as Cousteau says, “pulsations of the earth.” But “the enigma remains entirely unsolved,” all the more so because this lobster procession occasions a slaughter by fishermen, and also because lobsters cannot be tagged since they shed their shells.
[403] The best book of nursery rhymes, and on nursery rhymes, seems to be *Les complines de langue francaise,* with the commentary by editors Jean Beaucomot, Franck Guibat, et al. (Paris: Seghers, 1970). The territorial character of nursery rhymes appears in such privileged examples as “Pimpanicaille,” two distinct versions of which exist in Gruyeres on “the two sides of the street” (pp. 27–28); but it is a nursery rhyme in the strict sense only when there is a distribution of specialized roles in a game, and the formation of an autonomous game assemblage that reorganizes the territory.
[404] Nikolaas Tinbergen, *The Study of Instinct* (Oxford: The Clarendon Press, 1969).
[405] On the one hand, the experiments of W. R. Hess have shown that there is not a cerebral center but instead points that are concentrated in one zone and disseminated in another, and are capable of inciting the same effect; conversely, the effect may change according to the duration and intensity of the excitation of a point. On the other hand, E. von Hoist’s experiments on “deafferented” fish demonstrate the importance of central nervous coordination in fin rhythms; Tinbergen’s schema takes these interactions into account only secondarily. The hypothesis of a “population of oscillators” or a “pack of oscillating molecules” forming systems of articulation from the inside, independent of any common measure, is most compelling in view of the problem of circadian rhythms. See A. Reinberg, “La chronobiologie,” *Sciences,* vol. 1(1970); and T. van den Dreissche and A. Reinberg, “Rythmes biologiques,” in *Encyclopedia Universalis,* vol. 14, p. 572: “It does not seem possible to reduce the mechanism of circadian rhythmicity to a simple sequence of elementary processes.”
[406] Jacques Monod, *Chance and Necessity,* trans. Austryn Wainhouse (New York: Vintage, 1972): on indirect interactions and their nonlinear character, pp. 69–71 and 76–77; on corresponding molecules that are least two-headed, pp. 68–69; on the inhibiting or releasing character of these interactions, pp. 63–67. Circadian rhythms also depend on these characteristics (see the chart in the *Encyclopedia Universalis* under “Rhythmes biologiques”).
[407] Eugene Dupreel elaborated a set of original notions, “consistency” (in relation to “precariousness”), “consolidation,” “interval,” “intercalation.” See *Theorie de la consolidation: La cause et I’intervalle* (Brussels: M. Lamertin, 1933); *La consistance et la probabilite objective* (Brussels: Academie Royale de Belgique, 1961); *Esquisse d’une philosophic des valeurs* (Paris: Alcan, 1939); Bachelard, in *La dialectique de la dur’ee,* draws on Dupreel.
[408] [TRANS: *The Diary of Virginia Woolf* ed. Anne Olivier Bell (London: Hogarth Press, 1980), vol. 3, p. 209.]
[409] On the song of the chaffinch, and the distinction between the “subsong” and “full song,” see Thorpe, *Learning and Instinct,* pp. 420–426.
[410] Alexander James Marshall, *Bower-Birds* (Oxford: The Clarendon Press, 1954).
[411] Thorpe, *Learning and Instinct,* p. 426. In this respect, songs present an entirely different problem than calls, which are often not very differentiated, and quite similar from species to species.
but for now—debt
[412] Raymond Ruyer, *La genesedes formes vivantes* (Paris: Flammarion, 1958), chapter 7.
[413] In particular, on widow birds *(Viduinae),* parasitic birds whose territorial song is species-specific and whose courtship song is learned from their adoptive host, see J. Nicolai, *Der Brutparasitismus der Viduinae, Z. Tierps.,* vol. 21 (1964).
[414] The participation of a black hole in an assemblage appears in numerous examples of inhibition, or fascination-ecstasy, notably in the peacock: “The male peacock spreads his tail feathers.... Then he bends the spread-out tail forward and points downward with his beak, while his head is still upright. As a result, the female runs in front of him and pecks in a searching manner on the ground in the focal point of the concave mirrorlike shape of the fanned tail. The male peacock points, so to speak, with his fanned-out tail toward imaginary food,” Eibl-Eibesfeldt, *Ethology,* p. 116. But the peacock’s focal point is no more imaginary than the finch’s grass stem is a vestige or symbol; it is an assemblage converter, the passage to a courtship assemblage, in this instance, effected by a black hole.
[416] Francow *Meyer, Problematique de revolution* (Paris: PUF, 1954).
[418] Female birds, which do not normally sing, start singing when they are administered male sex hormones, “and they will sing the song of the species on which they have become imprinted.” Eibl-Eibesfeldt, *Ethology,* p. 265.
[419] [TRANS: Klee, *On Modern Art,* p. 43. Translation modified to agree with the French translation cited by the authors.]
[421] See *Renaissance, manierisme, baroque, Actes du Xle stage international de Tours* (Paris: Vrin, 1972), part 1, “Periodizations.”
[422] Proust, *Swann’s Way,* in vol. 1 *of Remembrance of Things Past,* p. 382 [translation modified—Trans.].
[423] See the ambiguous role of the friend at the end of *Das Lied von der Erde.* Or Eichen-dorff s poem in Schumann’s lied, *Zwielicht (in* Opus 39): “If you have a friend in this world, do not trust him at this hour, for even if he is kind in eye and mouth, he dreams of war in deceitful peace.” (On the problem of the One-Alone, or “solitary Being,” in German romanticism, see Holderlin, “Le cours et la destination de l’homme en general,” trans. Emmanuel Marineau, *Poesie,* no. 4 <verbatim>[1978],</verbatim> pp. 6–22.)
[424] “The people in Mussorgsky’s *Boris* do not form a true crowd; at times one group sings, then another, and then a third, each in turn, and most often in unison. As for the people in *Maitres chanteurs,* it is not a crowd but an army that is powerfully organized in the German manner and marches in rows. What I would like is something sparser, more divided, more relaxed, more impalpable, something in appearance inorganic and yet at bottom ordered.” Quoted by Jean Barraque, *Debussy* (Paris: Seuil, 1977), p. 159. This problem—how to do a crowd—obviously recurs in other arts also, painting, cinema, etc. One may refer in particular to the films of Eisenstein, which proceed by this type of very special group individuation.
-rachel
[425] On the relations between the cry, the voice, the instrument, and music as “theater,” see Berio’s statements introducing his records. One will recall the eminently musical Nietzschean theme of a multiple cry of all superior men, at the end of *Thus Spoke Zarathustra.*
[426] On Bartok’s chromaticism, see Gisele Brelet’s study in *Histoire de la musique,* vol. 2, pp. 1036–1072.
[427] In his book on Debussy, Barraque analyzes the “dialogue of the wind and the sea” in terms offerees instead of themes: pp. 153–154. See Messiaen’s statements on his own works: sounds are no longer anything more “than vulgar means of expression intended to make durations measurable.”
[428] Odile Vivier describes Varese’s procedures for treating sound matter, in *Varese* (Paris: Seuil, 1973): the use of pure sounds acting as a prism (p. 36); mechanisms of projection onto a plane (pp. 45 and 50); non-octave-forming scales (p. 75); the “ionization” procedure (pp. 98ff.); the theme of sound *molecules,* the transformations of which are determined by forces or energies *(passim).*
[429] See the interview with Stockhausen on the role of synthesizers and the effectively “cosmic” dimension of music, in *Le Monde,* July 21,1977: “Work with very limited materials and integrate the universe into them through a continuous variation.” Richard Pinhas has written an excellent analysis of the possibilities of synthesizers in this regard, in relation to pop music: “Input, Output,” *in Atem,* no. 10 (1977).
[430] The definition of fuzzy aggregates brings up all kinds of problems because one cannot appeal to a local determination: “The set of all objects on this table” is obviously not a fuzzy set. Mathematicians concerned with the question speak only of “fuzzy subsets” because the reference set must always be an ordinary set. See Arnold Kaufmann, *Introduction to the Theory of Fuzzy Subsets,* foreword L. A. Zadeh, trans. D. L. Swanson (New York: Academic Press, 1975), and Hourya Sinacoeur, “Logique et mathematique du flou,” *Critique,* no. 372 (May 1978), pp. 512–525. In considering fuzziness as the characteristic of certain sets, our point of departure was a functional, as opposed to a local, definition: sets of heterogeneous elements that have a territorial, or rather territorializing, function. But this is a nominal definitiion that does not take “what happened” into account. The real definition can come only at the level of processes affecting the fuzzy set; a set is fuzzy if its elements belong to it only by virtue of specific operations of consistency and consolidation, which themselves follow a special logic.
[431] Paul Klee, *On Modern Art,* p. 53: “The legend of the childishness of my drawing must have originated from those linear compositions of mine in which I tried to combine a concrete image, say that of a man, with the pure representation of the linear element. Had I wished to present man ‘as he is,’ then I should have had to use such a bewildering confusion of lines that pure elementary representation would have been out of the question. The result would have been vagueness beyond recognition.”
[432] Paul Virilio, *L’insecurite du territoire* (Paris: Stock, 1975), p. 49. Henry Miller develops this theme in *The Time of the Assassins. A Study ofRimbaud*(Norfolk, Conn.: J. Laughlin, 1956), and in the text he wrote for Varese, “Lost! Saved!” *(The Air-Conditioned Nightmare* [New York: New Directions, 1945]). It is undoubtedly Miller who has taken the modern figure of the writer as cosmic artisan the farthest, particularly in *Sexus.*
[433] On the relation of colors to sound, see Messiaen and Samuel, *Conversations,* pp. 15–17. Messiaen faults drug users for oversimplifying the relation, which they make into a relation between a noise and a color, instead of isolating complexes of sounds-durations and complexes of colors.
[434] On the crystal, or the crystalline type, added and subtracted values, retrograde motion, see also Messiaen’s texts in Samuel, *Conversations,* and those of Paul Klee in his diary, *The Diaries of Paul Klee, 1898–1918,* ed. and intro. Felix Klee (Berkeley: University of California Press, 1964).
[435] See Roland-Manuel’s article, “L’evolution de l’harmonie en France et le renouveau de 1880” (pp. 867–879), and the article by Delage on Chabrier (pp. 831–840), in *Histoire de la musique,* vol. 2. And especially, Brelet’s article on Bartok: “Are not the difficulties learned music experiences in utilizing popular music due to this antinomy between melody and theme? Popular music is melody, in its fullest sense, melody persuading us that it is self-sufficient and is in fact synonymous with music itself. How could it not refuse to bend to the learned development of a musical work pursuing its own ends? Many symphonies inspired by folklore are only symphonies *about* a popular theme, to which the learned development remains alien and exterior. The popular melody could never constitute a true theme; and that is why, in popular music, the melody is the entire work, and why once it is over it has no other resource than to repeat itself. But can’t the melody transform itself into a theme? Bartok solves this problem, which was thought insoluble” (p. 1056).
[436] Marcel More, *Ledieu Mozart etlemondedesoiseaux*(Paris: Gallimard, 1971), p. 168. And, on the crystal, pp. 83–89.
[437] See Alban Berg’s famous analysis of “Reverie” in *Ecrits* (Paris: Ed. du Rocher, 1957), pp. 44–64. 12.1227: Treatise on Nomadology—the War Machine
[438] Georges Dumezil, *Mitra-Varuna* (Paris: Gallimard, 1948 [forthcoming in English translation from Zone Books]). On *nexum* and *mutuum,* the bond and the contract, see pp. 118–124.
[439] “The first pole of the State (Varuna, Uranus, Romulus) operates by magic bond, seizure, or immediate capture: it does not wage battles, and has no war machine, it binds, and that is all.” Its other pole (Mitra, Zeus, Numa) appropriates an army but imposes upon it juridical and institutional rules that become nothing more than a piece in the State apparatus: thus Mars-Tiwaz is not a warrior god, but a god who is a “jurist of war.” See Dumezil, *Mitra-Varuna,* pp. 113ff., 148ff., 202ff.
[440] Dumezil, *The Destiny of the Warrior,* trans. Alf Hiltebeital (Chicago: University of Chicaga Press, 1970).
[441] For the role of the warrior as one who “unties” and opposes both the magic bond and the juridical contract, see Dumezil, *Mitra-Varuna,* pp. 124–132. See also the analysis *of furor* in the works of Dumezil.
[442] [TRANS: The first quote is from Friedrich Nietzsche, *The Genealogy of Morals,* second essay, sect. 17, trans. Walter Kaufmann and R. J. Hollingdale (New York: Vintage, 1967), p. 86; the second is from Franz Kafka, “An Old Manuscript,” *The Complete Stories,* ed. Nahum N. Glazer (New York: Schocken, 1983), p. 416.]
[443] Luc de Heusch emphasizes the public nature of Nkongolo’s actions, in contrast to the secrecy of the actions of Mbidi and his son; in particular, the former eats in public, whereas the others hide during their meals. Later, we will see the essential relation of the war machine with the secret, which is as much a matter of principle as a result: espionage, strategy, diplomacy. Commentators have often underlined this link. *Le roi ivre ou I’origine de I’Etat* (Paris: Gallimard, 1972).
[444] For an analysis of the three sins in the cases of the Indian god Indra, the Scandinavian hero Starcatherus, and the Greek god Hercules, see Dumezil, *Mythe et epopee,* vol. 2, pp. 17–19 (Paris: Gallimard, 1971). See also Dumezil, *The Destiny of the Warrior.*