2006/07/02

the anTiOEdipuS PaperS et ArtAUd

forget me knot as pain's undone my bone
forget not me as the end of and
et so et so and tongue-tied language
prophetess


. SOmething like that anyhow, Fanny 'remarked.' to comb your hair,
put your mittens on your feet.




It's quite to end it.
It's a machine.

It's a machine. ends signifiance. I, Antonin Artaud having No PapaMama See my Sondaughter Felix I smile to his distance studies in office Chimere s he is the at work exotic reings of schizometrics. Her baby is my Aunty Oedipus. I smile tenderly from the death of my space at Rodez.
So Felix flux said 'For us, it's just the opposite! The less we'll account for things, the farther we'll be from these concrete cartographies, those of Castaneda or psychotics (which are more or less the same in this case), and the more we can hope to profit from this activity of speculative cartography.
That appears absurd, but think about aesthetics: aesthetics isn't something that gives you recipes to make a work of art. And in some ways, for it to *make* an impact, it must be totally disconnected, unaligned vis-?-vis this perspective of accounting for a pragmatic or artistic activity. The speculative cartography, just like any theology or philosophy, isn't there to provide an inventory of these different modes of invention of existence, of sensitivity, of productions of new types of intensity.' Mona says to me in her saucy silly way of flove frills & other bodies without-organs in an astral body yes, I sent you my body.




THE ANTI-OEDIPUS PAPERS
by Felix Guattari
pResented by Mona and her daughters of Poetry and poetic's acceptances of love desire and death & the body reborn its becomings over hill over heart shaped whales their knot of pain a song of renewal in the death urgency of dai


From the folks over at
Semiotext[e]

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this



"Few people at the time believed, as they wrote in the often-quoted opening sentence of Rhizome, that “the two of us wrote Anti-Oedipus together. Since each of us was several, that became quite a crowd.” These notes addressed to Deleuze by Guattari, in preparation for Anti-Oedipus, and annotated by Deleuze, substantiate their claim, finally bringing out the factory behind the theatre. They reveal Guattari as an inventive, highly analytical, mathematically-minded “conceptor,” arguably one of the most prolific and enigmatic figures in philosophy and social-political theory today. The Anti-Oedipus Papers (1969-1973) are supplemented by substantial journal entries describing his turbulent relationship with his analyst and teacher Jacques Lacan, his apprehensions about the publication of Anti-Oedipus and accounts of his personal and professional life as a private analyst and co-director with Jean Oury of the experimental clinic Laborde (created in the 1950s)."

I am not so sure of the "few people " referred to by this reviewer... I never had any doubts, nor did I care to have any. It s mostly academics and perhaps paranoiacs who were among this few.

Mona could have cared, less, Desiremachine Janine Macintosh, didnt even blink an eye, she'd been there. So perhaps this is all snorkle and firrors. Some one , apparently, had this thought, but not Deleuze. He says Guattari was already way of ahead, he says in Dialogues to Claire Parnet.

Felix Felflux the becomings cat was cool

as cool can be with his Radio Alice

and his work with Negri

and his work with Alliez

and so was Prof. Deleuze as everyone knew

with his long nails and epidermis so

tacit in the hands reaching across the table...
“Capitalism is the exterior limit of all societies because it has no exterior limit itself. It works well as long as it keeps breaking down.”

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