File deleuze-guattari/deleuze-guattari.0509, message 37


Date: Thu, 29 Sep 2005 07:33:37 -0400
To: deleuze-guattari-driftline.org-AT-lists.driftline.org
Subject: Re: [D-G] sex appeal pf the inorganic


"The philosopher's task therefore is to
proclaim the greatness and dignity of this lifeless,
orgasmless sexuality", says ACH....

"...without orgasm, without a climax, without any release of tension,
without any return at the end to a satiated self."
-Pinncchio Theory
---------------
I have only read the discussion and the Pinnocchio review, but I don't
see any reason to assume that this experience (sai) is "orgasmless".
Does it not seem pretty clear that Perniola is talking about that
gigantic mass orgasm of society - "culture". In a very broad sense, of
course, culture, that act of creation, is a messiness that is all over
the place - like the lost mandrake sperm of the hanged culprit
(I-gloo).

Even in pt.1 of the Dylan special on PBS, Scorsese made the really
good point that Dylan's working class roots (capitalist alienation)
inspired in him an eruption of identity that became part of our
culture. Dylan undergoes a very philosophical experience, yet without
any of the "holding back" of orgasmlessness. Anyone who studies
popular music is aware of this class-specific alienation factor. Just
a few simplified examples, Liverpool '59 - British Rock, Bronx '74 -
Hip Hop, Kingston '56 - Ska, Detroit '85- techno, even Elvis's Memphis
'53 (re: Griel Marcus's wonderful "Presleyiad"). The difference
between say the Beatles and the Rolling Stones is quiet significant in
this regard (re: Carducci's "Rock and the Pop Narcotic"). Scorsese's
documentary also presented Pete Seegar's startling observation that
the American Folk movement of the 60's arrived 10 years late(!), due
to the HUAC hearings. I don't think Seegar is trying to self-edify, I
think he is just being really insightful about this social "orgasm" of
culture and the preventive action (holding back) of right-wing
conservatives. As I recall from that horrible "assemblege", HUAC,
started out as means to remove then Secretary of Treasurey, Henry
Morgenthau and his crusade against the BIS (and other banks like
Chase) who had stepped up to the plate to fund Hitler's campaign.
Aside from removing the communists, what it turned into was a "culture
jam" that helped the industrialists gain control of american identity,
thru culture . . . frorm "rhythm n' blues" to "Leave it to Beaver"...
perhaps Koenigsberg can tell us more about Krishna's nightmare within
a nightmare, what else could it be?
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