This series discusses Deleuze's two opposing readings of Time, Chronos and the Aion. Chronos is presented from the point of view of Plato's philosophy. Chronos is circular, encased by God. Chronos, the present, is the time of mixtures and blendings and corporeal causes. The Stoics distinguished between good and bad mixtures, whether they spread order or chaos. The "bad mixtures" Deleuze calls the becoming-mad of the depths. This becoming-mad tries to subvert the present; this is how Chronos attempts to die. Deleuze presents the argument, via Meditations by Marcus Aurelius that another element is needed, the Aion.The Aion is a straight line (Chronos unfolded) that goes infinitely into the past and future, but is limited because its present only lasts an instant. The Aion is the world of surface effects and allows language to be abstracted from the sounds of the body. The Aion articulates the frontier between bodies and language, between things and propositions. Pure events ground language. It is what is expressed in its independence that grounds language, i.e. sense. Events and sense are the same thing. Sense brings that which expresses it into existence. Aion lasts for an instant in the present then divides into the past and future simultaneously. Aion is the eternal truth of time: pure empty form of time. Suggested additional reading: 1. Parmenides by Plato which is a dialogue between Parmenides, Socrates and Zeno, the founder of the Stoics. 2. The section on Zeno (Book VII, first philosopher) in The Lives of the Philosophers by Diogenes Laertius. 3. Sections on the empty form of time from Difference and Repetition by Deleuze, p. 87 - 91 and p. 294 - 300 in the Columbia edition. See the index under Time for more references.
Saturday, November 26, 2022
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.
Saturday, November 5, 2022
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
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.”
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
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.
Tuesday, September 20, 2022
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 Laërtius book, The Lives and Opinions of Eminent Philosophers for accounts of Pre-Socratic Philosophers, Cynics and Stoics. The ebook is here. https://www.gutenberg.org/files/57342/57342-h/57342-h.htm 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
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.
Saturday, August 27, 2022
Describes how individuals and their world come into being from the transcendental field of singularities as the first stage of the genesis. This stage gets engendered by sense. It's with reference to Leibnez's theory of the monad and of compossible and incompossible worlds. The second stage establishes and develops the Ego or Person on top of the first stage. The first stage comprises an umwelt. Good sense gets actualized here. In the second stage the person sees more objectively across individual worlds forming a welt.Deleuze's formulations resemble the Many Worlds interpretation of Quantum Physics. He uses the same literary example they do, The Garden of Forking Paths by Jorge Borges.
Thursday, August 18, 2022
Sense is always an effect but it requires two causes to acquire autonomy. The first cause is corporeal, from bodies, states of affairs and mixtures. The second cause is incorporeal, metaphysical, coming from the paradoxical element, the empty square, nonsense, or an aleatory point which circulates between the series of things and the series of propositions.Sense has two aspects: 1. It's impassible and sterile in relation to bodies and things while neutral in relation to language. 2. Sense gets produced. Sense engenders the dimensions of the proposition: signification, manifestation and denotation. The two aspects of sense sets up a problem. If sense is impassible, how does it get produced to engender the proposition? The problem = how to produce sense, or how does sense get produced? Deleuze needs and begins to set the groundwork for a transcendental field for the bestowal of sense. The problem raised by the two aspects of sense indicates a choice between Formal Logic and Transcendental Logic. One way Deleuze states this problem: "At the heart of the logic of sense, one always returns to this problem, this immaculate conception, being the passage from sterility to genesis."
Saturday, August 13, 2022
Friday, August 5, 2022
This chapter looks at the problem of paradoxes and the territory they cover. Paradoxes are opposed to good sense and common sense. Good sense is a unique sense bound by a demand of order to go in a particular direction. Discusses the attributes of good sense and common sense. Common sense is what allows identity and recognition. Examples from the paradoxical world of Wonderland and Alice show when she doesn't have good sense or common sense.The sense from paradox goes in two directions simultaneously comparable to the two directions of Time in the Aion with the present moment splitting and be simultaneously subdivided into the past and the future. This sense goes "in tandem." More examples from Alice and Through the Looking Glass. An obscure Stoic example of going in tandem from Cicero's Academia section 29:
Saturday, July 30, 2022
In this Zen koan-like chapter, Deleuze posits a mode of co-presence of nonsense with sense. Sense doesn't come from the heights or the depths, God or Man, but rather inheres upon the surface, the border between the series of language and the series of bodies or things. Nonsense connects with the paradoxical element, the aleatory point, also called the empty square, that constantly circulates between these two series. Sense gets produced by this circulation of nonsense. Nonsense has no sense, but provides a donation of sense such that nonsense is opposed to the absence of sense.Two figures of nonsense, regressive synthesis and disjunctive synthesis. Both get demonstrated by Lewis Carroll's esoteric words. A nonsensical word like Snark is a word that communicates it's own sense. It's a word that appears both a word and a thing. This is regressive synthesis. Disjunctive synthesis occurs in portmanteau words where the virtual word of one part communicates the sense of the virtual word of the other part and vice versa.
Sunday, July 17, 2022
The Ideal Game provides a model for talking about thought, events, chance and the two readings of time as known by the Stoics: Chronos - the time of the present, and the Aion, the time of elongated pasts and futures. The Ideal Game has no rules, the rules change with every move, no winners or losers and it affirms and ramifies chance. The Aion is the ideal player of the game. Ordinary games divide an apportion chance. They have rules based on hypotheses.
Thursday, July 14, 2022
Member of the NEW TRAJECTORIES WEBRING
"The Vietnam War had been punishing in ways to all Unistaters, but Case, embroiled in the center of it, experienced it as very bad TV. It was like the film had stuck and Moe kept jabbing his finger in Curley's eye, over and over in infinite regress, until the myth and metaphor had turned meaningless through redundance. If the war wasn't that, it was sloppy editing or just plain bad taste."