Subject: Re: "El momento [D]e-lu(cid)-zas!
Date: Thu, 01 Jan 1998 15:20:14 EST


*
	       "There is one thing he must again grow capable of:
	         falling, patiently  resting in heaviness, - he who
presumed
	         to surpass all the birds in flying."(Rilke, _GW_, II,
246; see
	         also 'The Tenth Elegy' of _Duino Elegies_).


	Rilke you mention, and that "vague, haunting feeling" and a
"never forgetting" (or the work-($)word of active  [re-tree-'vel'], (and
I use this image, [re-tree-'vel'] to mel(t)(d) what in the paintings of
Bacon touch upon what  Deleuze  called "_accouplement_" - or what
Guattari saw as "diagram", allowing one planes of "inventive misreadings"
(as you pointed out) - to-word/ort "events of sensibility".  Yet, is the
climbing (or falling) upon these 'planes' what darned dares speak as
"mastered ignorance"? Is this the retreat in the face of the "I told ya
so", because there { bi-'ca'_uses_}  an  toll($) us, even if
(lacaniamente) "There is something of One"?  Or maybe t/here, via the
Colombat piece in _SAQ_ 96:3, we should again read the Melville quote,
with an ear to that 'thinking beyond' heart and brain - beyond the
"throb" and the "beat" as if thinking is that "see!"/sea of what's awl-
h/ear[s]/d.  Is the ear of melancholy  that which is antsy for the fruit
of the [re-tree-'vel'] of the holy? (Of course here I would jump into
your [Ariosto] first  question on the Baroque and point to page 638 of
the (once again (and how's that for sticking to something))  _SAQ_, where
Conley steps (in that step not beyond) (in/[_to)ut]_ the monad's drumming
it up to a  difference-(b)/[(ou)gh(t)]. The notion of travelling within
what haunts [wittoled/whittling] one lends this close/open/open/close of
departures/arrivals -wroughtinged to an _invisibility_ , where the
Stoic-Baroque connection might show what tells of the bout in ought oared
ought 'a' bout " 'IT' . One, sort'a never leaves home without it, and in
leaving, never leaves home behind. Snails and shells ford-(the)-ever:
Conch-life. Beauty is merely the cameo work (which conch shells are used
for at times) of what 'sublime' is it casting-off as what picked in
awl-here-ing/hearing of _y retorno eterno_. Maybe the dithyrambic is the
becoming-cameo of writhing/writing on our monadic walls of what
be-yearning "it" isn't even a step beyond the drying layer of  plaster to
which we are painting upon as a ' fresco'  of t/here-being one. {Baroque
pychosis!?}

	 Something else that comes close to my being embodied to your
question/s as they relate to these threads, is Nietzsche's "The Birth of
Tragedy", Section 3 in _Ecce Homo_, and the "Yes" of the ditirambos
dionisiacos as "'inocente' juego del nino heracliteo'. (see Kerkhoff,
"Juego y Reino del Nino (Nietzsche y Heraclito), _Dialogos_, 40, 1982,
7-26). 

	The child's 'hood' is the conch-place of a Stoa'd re-tree-'vel'.
The
	haunting haunts of what hollowed is also weened.

	Thus, and with Deleuze, "[b]etween the cries of physical pain and
the songs of metaphysical suffering, how is one to trace one's narrow,
Stoical way, which consists in being worthy of what happens, extracting
something gay and loving in what happens, a light, an encounter, an
event, a speed, a becoming?" (_Dialogues_, p. 66). And what a "rout"-ing
'a'-round that also 'a'-nt/hinges! {'rout', _vi, n, vt,}.

proprio cosi' come facciamo noi --
Buon anno,
entre chien et loup dans
lalangue trespasses,
Lucio