Date: Thu, 29 Mar 2007 19:51:59 -0400 From: ".+oot8am wakeup" <dr.crawboney-AT-gmail.com> To: deleuze-guattari-AT-lists.driftline.org Subject: Re: [D-G] Deleuze, electronic music and Deleuzian theory of body Hi, the repressive phenomena which turns a student inward, whether to drugs or to yoga, is connected to the notion of a social body and the "loss of limbs". This BwO, like the human sack which covers our bones, simply extends our "arm's length" beyond the 1-2 and to the 2-3. Activity in the dance club is protected by an ethical bubble which Spinoza has defined long ago and Bulter has applied more recently to a common sense of community of individuals. I agree with all you say aboout yoga but I am not able to ignore the obvious differences which are critical to this subject here and not critical to this additional subject of yoga that you bring here. Since you return to the additional subject of yoga for the 5th time in this thread, I continue to notice some difficulty in perceiving that difference. For the most part, yoga is a solipsistic activity, active training that makes boundaries between oneself and an external world. I see two interesting phenomena with such practice: it territorializes the self AND pursues schizophrenia as and activity. To continue with this unwarranted binary which you have imposed.... so on the other hand, psychedelics promote connection to external bodies and also territorialize, like music. The primary difference being the schizophrenic territory covered, drugs providing an overload and yoga with a darth. Yoga takes the body from 1-to-2, while drugs/music going 3-to-2. This distinction tells me I am looking at two different subjects, they are related in that they both animate the individual, but in different ways. As subjects they are different but both act upon the same subject. You may talk about yoga all you want but for now I'd like continue with the original subject. Reading in the Pinhas/Deleuze talks will explain to some extent the method of sonic territorialism of the brain. Deleuze extracts 3 main modes, collage being the broadest approach. Then his definition of pulse, delineated by 2 marks of the chronos, is what I would suggest could be used to model similar psychedelic experience. When research is done on neurological response to stimulus there are two key phenomena to examine in the data. First is that spike representing the activation of the neuron from the initial stimulus. This is the first element of creating chronos. Now the more interesting phenomena is that second spike, which indicates the inter-neurological response to the first spike. This second spike, shortly after the first, is what determines the super-critical state of the brain. Super-critical states are typically used to explain neurological activity since they reflect internal processes as they have already been filtered from of external phenomena. These two points establish the re-territoralism of the brain. This is still a physiological model, music or psychedelics, but with some careful thought it can be extended to psychological explainations. Now what interests me is how music optains a retro-significance. I'm thinking about the surge of 80's sonic signitures today (cher/kraftwerk) and why such signatures remain important to populations who are too young to have experienced them the first time. There are a lot of unresloved melodies, a lot of unresolved chronos form the 60's-80's. there seems to be a neurological need to continue much of what was left unfinished in so many "stunted" life experiences, wher music fills theses needs and can fill-in for lost happiness... -cb _______________________________________________ List address: deleuze-guattari-AT-driftline.org Info: http://lists.driftline.org/listinfo.cgi/deleuze-guattari-driftline.org Archives: www.driftline.org
Display software: ArchTracker © Malgosia Askanas, 2000-2005