To: <deleuze-guattari-AT-lists.driftline.org>
Date: Mon, 14 Aug 2006 22:19:46 +0200
Subject: Re: [D-G] Deleuze


hello Mr .+oot7AM martini [dr.crawboney-AT-gmail.com],

as often you prefer to write a
kind of - politely taken enigmatic - associations.
Also the use of dr.crawboney's name in your email
address and  the addressing itself is far from even mentioned, not to speak
explained.

It is not given to me to see that
as a contribution to a happy and
comfortable communication.

Also I see no question of any
interest cleared up in any way.

As internet communication lacks a lot
of information of setting,
the expectation and need of good will to
good communication are  a little bit
greater than in feed backed by social
means communication -
as in personal talks or
communication based on some
institutions.

So we have freedom in internet group.
Freedom to what.

Its a little bit more than puzzling  to
use without any need to produce some kind of disturbing -
the level of writing with full consciousness in doing so.

It is an old argument of repression to say:
Give the freedom and they will make hell on earth.
They are not able to use their freedom in a
favorite, happiness increasing way - like wooden iron.

greetings Harald Wenk






-----Original Message-----
From: deleuze-guattari-bounces-AT-lists.driftline.org
[mailto:deleuze-guattari-bounces-AT-lists.driftline.org]On Behalf Of
.+oot7AM martini
Sent: Montag, 14. August 2006 09:59
To: deleuze-guattari-AT-lists.driftline.org
Subject: Re: [D-G] Deleuze


ahoy,

> (it would be a kind of basic  politeness and feedback communication in
> regard of its setting
> to
> give an explanation of this unsigned emails with this addresses)
>

I work with animals everyday and for a long time now I practice
digitizing their motion expressions and voices so that they can be
re-animated within a computer graphics environment for motion picture
production. The purpose of my efforts is to apply special procedures
to re-organize these digitized captures, effectively expressing these
animal desires in their intended narrative. (Most recent issues I
encountered were smoking replacement drugs, candy bar consumption,
baseball mimesis, and dr.jarvek's lipitor for house cats.)  Mostly
their desires confront my specialization on the psychological lines of
the grund problem, which makes my job all the more easier but there is
no room for mistakes and so every step of the digital production must
flow in one direction, forward, in an economical fashion until the
animal's vision/voice is satisfied.
but I am interested in changing my work, simplify it to focus less
upon the visual and more upon the audition of sound. I envision a
therapy via audition. where a catalog of sounds can be re-animated by
an animal patient on their own terms, like an ipod. in which case my
work could concentrate upon the absolute functionality of the catalog
system. so far, researching this and that has lead me to consider the
terms of chronology to be a superior categorization method then any
physical attribute of the sound pattern. Even for dolphin or ape type
animals, I find that attempts at value-izing sound quality, such as by
pitch and volume, only obscures an underlying chronological order of
meaningful pitch and volume. Large databases of songs and musical
moods can be a major obstacle for the animal to recognize that order
esp if those databases cannot be flattened. So they are flattened by
that conscious gravity of chronos, hoping to leave the central aieon
untouched during the procedure. Most of this is new for me and it
isn't easy to see where it is going but I am fascinated by the success
stories with dyslexia subjects and the gradual(20min) parametric
equalization of sndwaves(noise) within the human voice range. but i
dont know why it is working like this yet, so I must learn some
neuro-mechanics of audition.

> to tune it up again,
> being more full master of oneself.
> This is very basic and simple.
> This maybe at most puzzling if one is used
> to have a high degree o
> being master of oneself,
> so the diminish of this essential feature  is  often not felt and
> recognized.
>

also some people need it more then others.
and sometimes
just talking with someone will utilize the frontal cortex and so in
this simultaneous way the same meditation cure can be once more
"heard" by another patient who might find it equally helpful.

>
> This is indeed more important than controversies about political issues.
>

yes, and so after my 3-minute yoga work-out, I am ready to confront
political issues of the day with a clear mind and full body.....
But today so much our political issues are specifically about
interacting with other people and I really believe that building a
frontal cortex along the path of external interpersonal revelations is
superior to building one that is taylored from an internal ideal. And
tthis is the horrible joy of politics. Since dopamine levels in the
frontal cortex plays such a major roll in evaluating sensory input,
this seems to be the better strategy (re: kant vs pure reason) .

>  I refuted a little the thesis of the author Mr.. Sapolsky
> who said that there is
> loss of creativity  with age - relative soon.
>

I am with you on this.
 but I see this interesting distinction which seems to also escape
deleuze and also pinhas. For me, the question is already framed
outside of "creativity" and so creativity-aieon is not so much in
danger here. It is not a creative act to listen to music, it is also
not a creative act to choose to listen to music, like choosing a radio
station or choosing a record to play at a party. so is eating sushi,
it is not "creative" to consume sushi, or anything for that matter.
Okay, maybe someone creative might eat an 8foot sushi roll but that's
special case. But it is really interesting how sapolsky can report
something that has this particular echo, and it does for me also. (but
see the closed frame? echoes like from the cave).

I must read the talk with pinhas on music again, but it seems like
they also make this little distinction between "hearing" and
"producing" chronos sounds so it is hard for me to understand the
mechanics of the flow that they begin to describe. I think it is
strange that the musician pinhas is flowing from the listener pov and
then there is deleuze's points which are flowing from the producer,
and he is quick to make the jump directly into the politics of
education from the producer side. Since pinhas is on the listener's
side he becomes appalled by those implications and his pov is
especially effected by the chronos which deleuze presents to him. That
chronos is deeper, of the 1-to-2 variety, from producer-to-listener.
Then deleuze brings in the 3rd and creates his line... .there is so
much here for me to grasp i will read it again.
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