File deleuze-guattari/deleuze-guattari.0703, message 17


Date: Thu, 29 Mar 2007 19:51:59 -0400
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
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