-----------
O Kleist Kleist Keist for Kleist sake!
....Why is the line of
flight a war one risks coming back from defeated, destroyed, after having
destroyed everything one could? This, precisely, is the fourth danger: the
line of flight crossing the wall, getting out of the black holes, but instead of
connecting with other lines and each time augmenting its valence, turning
to destruction, abolition pure and simple, the passion of abolition. Like
Kleist's line of flight, and the strange war he wages; like suicide, double suicide,
a way out that turns the line of flight into a line of death. ....
Kleist: everything with him, in his writing as in his life, becomes speed
and slowness. A succession of catatonic freezes and extreme velocities,
fainting spells and shooting arrows. Sleep on your steed, then take off at a
gallop. Jump from one assemblage to another, with the aid of a faint, by
crossing a void. Kleist multiplies "life plan(e)s," but his voids and failures,
his leaps, earthquakes, and plagues are always included on a single plane.
The plane is not a principle of organization but a means of transportation.
No form develops, no subject forms; affects are displaced, becomings catapult
forward and combine into blocks, like the becoming-woman of Achilles
and the becoming-dog of Penthesilea. Kleist offers a wonderful
explanation of how forms and persons are only appearances produced by
the displacement of a center of gravity on an abstract line, and by the conjunction
of these lines on a plane of immanence. He is fascinated by bears;
they are impossible to fool because their cruel little eyes see through
appearances to the true "soul of movement," the Gemut or nonsubjective
affect: the becoming-bear of Kleist. Even death can only be conceptualized
as the intersection of elementary reactions of different speeds. A skull
exploding, one of Kleist's obsessions. All of Kleist's work is traversed by a
war machine invoked against the State, by a musical machine invoked
against painting or the "picture." It is odd how Goethe and Hegel hated this
new kind of writing. Because for them the plan(e) must indissolubly be a
harmonious development of Form and a regulated formation of the Subject,
personage, or character (the sentimental education, the interior and
substantial solidity of the character, the harmony or analogy of the forms
and continuity of development, the cult of the State, etc.). Their conception
of the Plane is totally opposed to that of Kleist. The anti-Goetheism,
anti-Hegelianism of Kleist, and already of Holderlin. Goethe gets to the
crux of the matter when he reproaches Kleist for simultaneously setting up
a pure "stationary process" that is like the fixed plane, introducing voids
and jumps that prevent any development of a central character, and mobilizing
a violence of affects that causes an extreme confusion of feelings .
. □ 269
1730: BECOMING-INTENSE, BECOMING-ANIMAL ..flight a war one risks coming back from defeated, destroyed, after having
destroyed everything one could? This, precisely, is the fourth danger: the
line of flight crossing the wall, getting out of the black holes, but instead of
connecting with other lines and each time augmenting its valence, turning
to destruction, abolition pure and simple, the passion of abolition. Like
Kleist's line of flight, and the strange war he wages; like suicide, double suicide,
a way out that turns the line of flight into a line of death. ....
Kleist: everything with him, in his writing as in his life, becomes speed
and slowness. A succession of catatonic freezes and extreme velocities,
fainting spells and shooting arrows. Sleep on your steed, then take off at a
gallop. Jump from one assemblage to another, with the aid of a faint, by
crossing a void. Kleist multiplies "life plan(e)s," but his voids and failures,
his leaps, earthquakes, and plagues are always included on a single plane.
The plane is not a principle of organization but a means of transportation.
No form develops, no subject forms; affects are displaced, becomings catapult
forward and combine into blocks, like the becoming-woman of Achilles
and the becoming-dog of Penthesilea. Kleist offers a wonderful
explanation of how forms and persons are only appearances produced by
the displacement of a center of gravity on an abstract line, and by the conjunction
of these lines on a plane of immanence. He is fascinated by bears;
they are impossible to fool because their cruel little eyes see through
appearances to the true "soul of movement," the Gemut or nonsubjective
affect: the becoming-bear of Kleist. Even death can only be conceptualized
as the intersection of elementary reactions of different speeds. A skull
exploding, one of Kleist's obsessions. All of Kleist's work is traversed by a
war machine invoked against the State, by a musical machine invoked
against painting or the "picture." It is odd how Goethe and Hegel hated this
new kind of writing. Because for them the plan(e) must indissolubly be a
harmonious development of Form and a regulated formation of the Subject,
personage, or character (the sentimental education, the interior and
substantial solidity of the character, the harmony or analogy of the forms
and continuity of development, the cult of the State, etc.). Their conception
of the Plane is totally opposed to that of Kleist. The anti-Goetheism,
anti-Hegelianism of Kleist, and already of Holderlin. Goethe gets to the
crux of the matter when he reproaches Kleist for simultaneously setting up
a pure "stationary process" that is like the fixed plane, introducing voids
and jumps that prevent any development of a central character, and mobilizing
a violence of affects that causes an extreme confusion of feelings .
. □ 269
...
So a commentator... here in this excerpt below... caught off momenting...... in the glosses on the internet some space, of which to each is Kleist. and Lens O Poor Lens.
----------------"In Mille Plateaux, Deleuze and Guattari repeatedly contrast Goethe negatively in light of Kleist's work. For example, they state, »Tout l'oeuvre de Kleist est parcourue par une machine de guerre invoquée contre l'Etat, par une machine musicale invoquée contre la peinture ou le ›tableau‹. C'est curieux comme Goethe, et Hegel, ont la haine de cette nouvelle écriture«. 6 Several chapters later, they return to the subject, declaring »Lenz et Kleist affrontaient Goethe, génie grandiose, veritable homme d'Etat parmi tous les hommes de lettres«. 7 Finally, when discussing different types of space, they postulate »Pour le moment, il faudrait seulement dire qu'il y a deux sortes de voyage, qui se distinguent par le role respectif du point, de la ligne et de l'espace. Voyage-Goethe et voyage-Kleist?«. 8 In the above examples, Deleuze and Guattari are clearly thinking of such works as Wilhelms Meisters Lehrjahre and, perhaps, the Italienische Reise when they make this distinction between Kleist and Goethe. The distinction is less tenable when one considers more ›minor‹ Goethean masterpieces, such as the West-östlicher Divan and, even, Faust II. ..."
A thousand
thou_ sand
A thous_ and tiny sexes _ my queer lover ~ . we're cut into boxes, blues, bullies, territoriies. what face is this you hold, held to my visage in your hand, in your sex. what double joined one is this?
the machines
Movies, shit, poetry
the machiNes
the machines of yer face
of your ass
assophreniathe machines of yer face
of your ass
yer bod y cut across yer wild's face
this is your nasturbation|
it's the anaoedipal break & cut cupage which makes the difference/
__________________
cheap finality of tawdry remembered film ~ .
peace and potatoes
brim forth their gush ~
Mozart's desiring-machine?
'Raise your ass to your mouth... ah, my ass burns like fire, but what can be the meaning of that? Perhaps a turd wants to come out... Yes, yes, turd, I know you, I see you, I feel you.. What is this _is such a thing possible? ..." (Mozart letter.. to someone ....)
'Raise your ass to your mouth... ah, my ass burns like fire, but what can be the meaning of that? Perhaps a turd wants to come out... Yes, yes, turd, I know you, I see you, I feel you.. What is this _is such a thing possible? ..." (Mozart letter.. to someone ....)
peace and potatoes
wherever
you go
--------------------
Co-posted at radiodeleuzehere
