This series begins by looking at the development of the phantasm as a pendular motion swinging between the two extremes of the metaphysical surface and the partial objects and drives in the depths. The greatest danger is the collapse of the surface into the depths. The greatest potential lies in the constitution of a metaphysical surface of great range on which even the objects of the depths are projected.
Deleuze calls this pendular motion the forced movement of the phantasm; this forced movement increases its amplitude. The full amplitude brings about the metaphysical surface which he also calls Thanatos or the Death Instinct. Deleuze defines the Death Instinct differently than Freud – not as a wish for death but a wish to go beyond death. He envisions a struggle between Thanatos, or the metaphysical surface and the destructive drives of the depths. If the metaphysical surface wins out then an infinitive verb or an Eternal Truth gets inscribed on this surface. What Lewis Carroll calls "Impenetrability" and "Radiancy" gets actualized. Impenetrability comes from the 6th chapter in Through the Looking Glass, and is uttered by Humpty Dumpty. Examples of Radiancy can be found in Carroll's poems: Phantasmagoria
Beatrice
In the infinitive verb inscribed upon the metaphysical surface, the secondary organization is brought about and from this organization, the entire ordering of language. This allows the event as that which can be expressed.
The sexual organization is a prefiguration of the organization of language just as the physical surface was a preparation for the metaphysical surface.
Perversion is an art of the surface as opposed to subversion as a technique of the depths. Most sexual crimes are subversion not perversion.
The real problem of perversion (radical change) is shown correctly in the essential mechanism which corresponds to it, that of Verleugnung (denial). Verleugnung is not an hallucination, but rather an esoteric knowledge.
Primary order goes from the beginning sounds and noises in the depths then to the voice on high followed by speech then language. Words are directly actions and passions of the body. They are demonic possession or divine privation.
In relation to the voice, words can reach an excessive equivocation. (Perhaps the best example gets found in Joyce's Finnegans Wake.) An equivocation which ends equivocity and makes language ripe for something else. This something else is that which comes from the other, desexualized and metaphysical surface – the revelation of the univocal, the advent of Univocity – that is, the Event which communicates the univocity of being to language. Humor constructs all univocity.
The dynamic genesis doesn't end. There is the problem of the work of art yet to come. A construction of Music für ein Haus.
See Karlheinz Stockhausen's 1968 group composition project: Music für ein Haus.
