(&&&[Deleuze])=-1…

the story of the mirror neurons, pt. 1

Positivity, affirmation: they are related but not the same. To confront one with the other is not to vanquish it; they take different objects and produce different subjects. Positivity and negativity: you can affirm either; you can affirm both. You can affirm in positivity the need for negativity. Positivity is the condition of affirming only one. One side, one polarity, one out of the pair is affirmed and one is left out in affirming positivity; and in affirming negativity, equally, one side, one polarity, one out of the pair is affirmed, one left out. But when you affirm both what happens is still not an inclusion: the affirmation of both positivity and negativity can go to a higher form of positivity; but it cannot go to a higher form of negativity. It cannot go to a higher form of negativity unless you have or invoke a higher power of negation; or unless you have or invoke in negation a higher power. To have there be in negation a higher power, or to have negation be a higher power, is to make of that power your affirmation, to affirm it to be or to affirm in it that power. The condition for negativity to go to a higher form in the affirmation of a power in negation higher than the form of positivity that is unequally reposed in it where you affirm both positivity and negativity is that of its being, being in the world, and in the world acting. The condition of the existence of negativity in its higher power of negation may be called existential. Positivity would annul this existential condition of negativity, this form of being and this power of acting in the world, in its negation: it is not. Affirmation differs from positivity in reposing in negativity an existential condition that is its own and belongs to it; positivity deposes in negativity an existential condition of which it is dispossessed. According to positivity not only should negativity not be, should it not be in the world, and not only should negation not act in the world, and, according to positivity, where its moral injunction takes full effect, not only should negativity not find a higher power in negation, but negativity can not: it cannot be, it cannot be so and cannot be that negation so act. Affirmation differs from positivity neither insofar as it relates positivity exclusively to negativity, nor insofar as it includes equally both negativity and positivity, but insofar as it aligns itself with the existential condition of both and either positivity and negativity. The distinction is not lost; the difference you see and describe that is and acts in the world itself takes the higher power in the relation, the nondialectical relation, of the positive and the negative—a positive, a negative.

Affirmation vanquishes the dialectic in a differential relation of a positive and a negative. But the problem remains that to confront positivity with negativity is not to vanquish it. Negativity inverts positivity; and positivity obverts negativity. It may be the case that the project of positivity parallels the inject of negativity. If this is so, and the difference is upheld, the subject of negation is induced in a movement that is reflexive and intensive; the subject of position is produced in a movement that is object-directed and extensive. This reflexivity that is subjective in negativity, in positivity takes its object to be itself: that is whereas negativity subjects, induces or forms a subject reflexively, positivity objects and the subject is taken up to be the project of a performance. The position of the performing subject, of positivity’s performative project, is facing you, the position of an appeal, from, as it were, a dark and reflexive negativity; it is an appeal against an immutable background darkness that is everywhere around it.

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contd. (you can always catch up by going to a kind of record at the top of the lefthand margin) number twenty-eight of the series

XVIII.

it is ultimately sensuous

your scarf

my beard

pornography

 

to be human

faces the challenge

of

my poetry

 

and what it means

your laughter is

I behind I

deeply

 

is how you mean

how you mean

to proceed

originally

 

weave the future

and a future in recoil

a kind of record

of sexuality

 

from here the

horizon begins the

looping of a spine

kind of human calligraphy

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#19 for a kind of record (to read in series)

XIX.

Karen says Old History Now

I only care about the present well three things

at this time

in this light

we can say

in Deleuze on Foucault places things in reverse order

friends do

we can say one can say it is said at this time to say on

the limit

of the sayable

 

and in light of saying this in this light

I make a little poison to put in

friends do

this chalice

not enough to kill to pass from my lips

to yours I slip a little in

now a sip

 

these things through being said to say

to say this now

to see this now

to feel the poison take effect

take hold I make a problem

three parts

I practice

a charm

 

hidden in a fold of skin

hidden

between your lips

 

a secret passed from one to another

the other’s small touch of madness

I am forced to write in secret

 

Caetano said today Caetano said

the most transgressive

you can do

is play quietly

 

force public recoil

in private

in private recoil

from public sanction

 

I dreamt you’re a cunning man was repeated thrice

you’re a cunning man

you’re a cunning man

you’re a cunning man

if you know so much

and bit off his lips

 

why do you love me so

am I

not difficult to love

 

the turn the rest move away they turn

to their backs I yell

I feel the poison take effect

difficult to listen

love

a very rich speculation

friends

to whom I can say

this is the time

and these are the stakes of the time

 

take this cup away

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production of the fold is critical not only for resistance but for new possibilities from the event of bio-, neo- or neuroliberalism

…Deleuze picked up the notion of the fold from the Baroque and Leibniz, but it is Foucault who helped him develop a politically enabling understanding of the concept. In his book on Foucault, Deleuze discusses the way Foucault’s understanding of the fold developed after the first volume of the History of Sexuality and took shape with the subsequent two volumes. Recognizing how, after his first book, Foucault found himself at an impasse regarding how to find a relation to oneself in relation to power and knowledge, Deleuze sees how Foucault began to move beyond this impasse in subsequent books. In the second volume he begins to develop not a theory of the subject, but a theory of the fold as a force of subjectification, as a force bending in on itself, creating points of resistance. This folding enables resistance, as it produces ‘a specific or collective individuation relating to an event’.

— Frida Beckman, Gilles Deleuze: Critical Lives, Reaktion Books, London (2017), p. 63

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notes on to a kind of record I.

this in common

poem is problem

and this

 

very important

a sort of program

 

gathering of words

conjunctives

as substantives

of types

of syntactical moments

of verbal tonalities

 

the alternate face

here widened

 

towards the obscure

scintillating

 

with certainty of a

phenomenon

 

not a thought but

process of thought

mirror-like

 

refraction

of the human

 

end

in itself

end

of itself

 

end

germ

 

of an infinity

of horrors

 

reserves in one’s thoughts

hidden intention

charlatanism

addressing an audience

addressing a public

 

whom shall I kill

 

synthesis of all the vertigoes

dictation of memoirs

 

history of mind

absurd by what it seeks

 

great by what it finds

every beginning

 

coincidence

I don’t know what

 

sort of contact between all

and nothing

 

three words

two words

 

the tomb of the poet Edward

this girl couldn’t be buried

buried on a moonlit night

 

the dead girl’s name

Narcissa

who found himself so

in his reflection

 

the cyclical and repetitive functions of life

take love where it has never been

to the end

of the will to

 

killed his puppet

his puppet killed

in favor of a poetry

 

claiming autonomy

through critical self-reference

 

claims

to repressing the developments of intelligence

to depreciating the value of pure research

to taking often atrocious measures against

who consecrated themselves to these things

 

to favoring

even as far as endowed chairs and laboratories

 

worshippers of the idol

to the detriment

independent creators

spiritual richness

 

and they have imposed on the arts

on the sciences

the utilitarian ends which a power

 

founded on declamations and terror

pursues

 

praise of Bergson

 

sameness within vast

elusive differences

 

[all of which, on the poet Paul Valéry

1871-1945, you can read here.]

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a curtain not to be lifted – & other minuses – …towards a logic of sensation adequate to an analysis of performance

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model of exchange

giving is a celebration

of all you have

giving all away

is what each one does

in the end

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part one of a four-part project. Minus Theatre workshops begin May 5 2016 at Auckland University of Technology

and we will begin work towards a piece called “at the stock market meeting” – a tragedy!

I would like to complete 4 public pieces this year. They already have names!

And early 2017 join them together in an epic work!

By May 5 I am hoping we can bring into the group some new people & maybe bring back

some of those we miss!

Please put out word that this is what we are doing to all your contacts.

And contact me any time if you or others

want to talk about plans for the next projected public works

of Minus Theatre

best

s

simon@minustheatre.com

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thanks, Stephen, for pointing to Ron Eglash’s work unfolding African fractals

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please share with every body

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