Saturday, November 26, 2022

22nd Series – Porcelain and Volcano

In this series Deleuze explores a concept he calls "the crack," a crack in the surface organization. He uses F. Scott Fitzgerald's memoir piece, The Crack-Up as a jumping off point. In it, Fitzgerald discusses the disintegration of his life comparing it to a cracked plate (porcelain). He also looks at the crack through Malcolm Lowry's novel Under the Volcano. Deleuze attributes the crack in both these cases to alcoholism and does a brief psychological analysis of that disease.

However, the crack may have a beneficial side: "If one asks why does health not suffice, why the crack is desirable, it is perhaps because only by means of the crack and at its edges does thought occur, that anything that is good and great in humanity enters and exits through it, in people ready to destroy themselves - better death than the health we are given." (Logic of Sense, p. 164 - 165 Bloomsbury edition). Deleuze wants to know if it's possible to utilize the crack without compromising our health. The crack can also be brought about by schizophrenia (Artaud & Nietzsche), drugs or sudden loss of wealth or love, etc. Is it possible to get the revelations given by drugs and alcohol without chemical means? Counter-actualization seems a key to using the crack. Counter-actualization takes a difficult or tragic event and turns it into something else. The Crack-Up is both the title of a post-humous collection of Fitzgerald's letters and short stories and the name of a particular piece containing three short memoir stories originally written for and published in Esquire magazine. In the video, I incorrectly state that it was for Vogue magazine. It is the short story, The Crack-Up, that Deleuze uses. It can be read for free at the Internet Archive by registering for a free account. It begins on page 69 at this link.
It can also be purchased here. Under the Volcano is available here.

Saturday, November 5, 2022

21st Series of the Event

Transforming hardship like a Stoic. Illustrated with the story of French poet Joe Bousquet and his wound. How he apprehended the universal truth of the pure event of his wound and through Will became a quasi-cause for transmuting it into something else; in his case, becoming a poet and writer.

The only ethics worth having - to be not unworthy of what happens to you. This relates with Nietzsche's concept of Amor Fati. Also goes into Nietzsche's concept of "ressentiment" (resentment) as an attitude of slave morality. Those who feel the events of their life seem unwarranted or unjustified - it's always someone else's fault - are full of ressentiment as are those who "pick at their sores." Touches upon the two big problems of war and death. "There is, nevertheless, a good deal of ignominy in saying that war concerns everybody. It does not concern those who use it or serve it – creatures of ressentiment." The Stoic sage, the "actor," also called the Operator in this Series - I would also call a Magician - becomes a quasi-cause relative to any event in the depth of the body that may bring misfortune (a wound) by willing the pure event with splendor and magnificence which is sense. Sense can dry up the misfortune, this gets done by the static genesis and the immaculate conception, i.e. humans who know how to produce sense. The Operator takes the splendor and contour of the pure event and transmutes the misfortune into something else. The example of Bousquet using his wound (which left him bed-ridden for life) to establish a writing career. The Operator aims to turn war against war and death against death. The paradox of the actor and the ambiguity of the event relate to the two modes of time, Chronos and the Aion. The actor actualizes the event in the present moment in a state of affairs (Chronos); the pure event always bypasses the present moment splitting into the infinite past and the infinite future. The pure event is the actor's role. Quotes from The Space of Literature by Maurice Blanchot illustrate this ambiguity.

Sunday, October 30, 2022

Live Music: Dalrymple and the Wild Daimons

 Today is the first day of the rest of your mythology.

A crack between the worlds opens up November 10th, 7:30 pm  at the historic Nevada Theater in downtown Nevada City, Ca with a concert by Dalrymple and the Wild Daimons and a special guest to open the show.

The ensemble currently performs several pieces from their forthcoming 2023 album release, We Are Gods. 

The album is a musical blueprint born out of the need to align human beings with the personification of their individual destiny, the center of the source of inherited power.

The band took their name from the Greek word for Provider/Divider of destiny/fortune, i.e. The Daimon.

“There was a Daimon in me and in the end its presence proved decisive.”

~Carl Jung

Dalrymple and the Wild Daimons was conceived in the frosty confines of the Dream Factory in the isolated winter of 2020. Part band, part comic book, part conceptual art project, they defy categorization but align with the visionary artists who inspire them, David Bowie, Bahaus, Nick Cave, Carl Orff, Terry Riley, Moondog, Alan Moore and Carl Jung to name a few.

The music of this power trio borders multiple genres and tonal expressions such as neo-classical, gothic-folk, chamber-psych, avant-rock and doomy funk, all charged with cosmic undertones.

The band is comprised of multi-instrumentalist Dalrymple MacAlpin, performing guitar, piano, synth and gut-string medieval harp along his idiosyncratic counter-tenor vocals. Dalrymple is backed up by two rhymically oriented Wild Daimons, Michael Clark on drums, gongs and percussive oddities and Michael Wronski on upright and electric bass. Guest Wild Daimon Ben Milner provides textural sonic soundscapes.

On display at their live shows will be the first 9 pages of the bands forthcoming graphic novel, Planet Daimon, written by Dalrymple and illustrated by Sacramento based artist Greycat. The graphic novel is a further extension of Dalrymple and the Wild Daimons mission statement~

“To save as many Daimons as they can from being ignored, repressed and annihilated, using the divine electricity that courses through the cosmic fields of music, art, theatre, magick and the power of active imagination. Today is the first day of the rest of your mythology.”

Get your tickets HERE

For more information or to listen to their new single Blood on the Concrete (mixed and mastered by Yours Truly) go THERE to their website.

Saturday, October 22, 2022

20th Series on the Moral Problem in Stoic Philosophy

This chapter concerns the spatio-temporal actualization of the event into a state of affairs. The Stoic master wills the embodiment of the event into a limited present. The Stoic master identifies with the quasi-cause (events causing other events) to will the embodiment of the event. This also becomes the representation of the event. This willing of the event seems a dramatisation with the Stoic master as first, an actor with the pure event in eternal time (the Aion) being the character. Later Deleuze calls the actor a mime. The Stoic master in this role gets compared to a Zen master. Deleuze begins with the example of Diogenes Laertius comparing philosophy to an egg with the shell as Logic, the white as Ethics, and the yolk as Physics but says that Diogenes rationalizes - what we really need is aphorisms/anecdotes or koans. Later he criticizes Plutarch for rationality hostile to Stoic philosophy. Hence this series reads more like a collection of koans than a rational presentation. For example, Deleuze says that Divination grounds Ethics and discusses the fortune-telling art. The dramatisation of the Idea from virtual into actual as discussed in Difference & Repetition p. 216 - 218 (Columbia University Press edition) compares with the dramatisation of the actualization of the event.

Monday, October 3, 2022

19th Series of Humor

Humor appears a way to bring language down from the heights of ideas and up from the depths of bodies to the expression of sense at the surface. Objects and events communicate in the void which constitutes their substance. The Stoics conceived of the void as having extra-being and insistence. The void = the nonsense at the surface, the paradoxical element, the aleatory point. Humor = the co-extensiveness of nonsense with sense. Humor seems how nonsense can make a donation of sense. To get to the pure expression of sense one tries to abolish language and thought. Deleuze connects the Stoics with Zen Buddhists. The balance of form and emptiness. They both give blows on their staff. The way Deleuze puts it, this makes a pun on a music staff, the way music gets noted and designated. Music, like humor, can bring us to the surface. Not said in the video: "To the question 'Who is speaking?', we answer sometimes with the individual, sometimes with the person, and sometimes with the ground that dissolves them both. 'The self of the lyric poet raises its voice from the bottom of the abyss of being, its subjectivity is pure imagination.'" - The Logic of Sense p. 140. The last quote is from Nietzsche.

Tuesday, September 20, 2022

18th Series of the 3 Images of Philosophers

 Discusses 3 orientations of philosophy or thought, the heights, the depth and the surface. These are represented by Platonism, Nietzsche & the Pre--Socratics, and the Cynics and Stoics. Symbolized by Platonic wings, Empedocles' sandal, and the philosophical staff blow. Connection with Zen. Empdeocles connection with magic and with Nietzsche. Vigorous attack on Platonism; the philosophical disease of Idealism which gets compared to manic depression.

Deleuze references Diogenes Laƫrtius book, The Lives and Opinions of Eminent Philosophers for accounts of Pre-Socratic Philosophers, Cynics and Stoics. The ebook is here. Thelemic associations not mentioned in the video: Philosophy of the heights corresponds with Nuit. Philosophy of the depths corresponds with Hadit. Philosophy of the surface corresponds with Ra Hoor Kuit (Horus)

Tuesday, September 13, 2022

17th Series of the Static Logical Genesis

The Logical Genesis continues the construction of a structure that can produce sense. It's grounded upon the first two stages of the Ontological Genesis. Language appears primary to this genesis. Language is contingent upon sense. The logical genesis = the complex structure of language. Also called the condition or forms of possibility of the structure. It is the rational or intellectual aspect.

The "problem" is the reality of the genetic element. The problem is not propositional but only exists within propositions. The surface gets formed and organized by the depth in bodies. Left out of the video: Sense is that which is formed and deployed at the surface. Sense is that which happens to bodies and that which insists in propositions. Sense is doubly generative, it engenders language and things. As long as we remain within the circle of the proposition - revolving between denotation, manifestation & signification - we can only infer sense. We have to break through and go beyond the rational to directly experience and work with (produce?) sense. More on Avicenna's idea that God = not.