Subject: El momento [D]e-lu(cid)-zas!,...
Date: Fri, 02 Jan 1998 01:33:22 EST


where Bataille writes: "the fragmentary state of humanity is basically
the same as the choice of an object [and w/here choice, as a] positive
practice of freedom...lift[s] me above a mutilated existence[ ]", and
where Ariosto goes off invoking "reason" for "letters thrown in" - 
"presum[ing that] these marks, this catastrophe of narrative words [had]
a stable and defining meaning[ ]", (and proceeds to wrap up Bataille's
section 6 pg. xxvii where "to struggle for freedom is first of all to
alienate ourselves[ ]"), AND (to top it off)  invokes the name of Daniel
[figlio mio!] (laughter). 

	 I'd say you have three strikes against you within these moves,
for,  a), a  positive practice of freedom doesn't  x-tale the
sca[r]ffolds of what alienated tolls us; b), stable and defining
meaning(s) [in reference to the beauty/sublime thread, and your previous
post and questions] are caught as either 'cameo work', or (when sublime),
as a casting-off, a "_dans le parcours_" (to put it alla Proust), where
to 'captivate' is to destroy desire; whereas to sublime/ate [you could
throw in the Lacanian 'placenta' here] is to learn (with bitterness mind
you, and here is _your_ Bataille, back again) of our "_stereoscope
interieur_" (again with Proust) - or vision that adds more than one
'a'-more (desire perpetuated) as a blip to what we heard. This last bit
could be related to Deleuze's "la complication" in his work _Proust et
les signes_, where asymetrical and noncommunicating parts coexist.  So
there. You do it, but don't 'know' it.  And, c), to write "like Daniel"
is like being at the windows of Balbec (Proust again, see _A la Recherche
du temps perdu_, I, 803), where a _mise en surface_ acts as an engraved
medal which brands the writer as much as his pen scratches the page, or
music envelops what we hear/here-after.  Maybe this was what I spoke(d)
as the 'monad's drumming it up to a difference bought/bout/[of]ought.' 
Isn't there a Stoic hinge to this "choice", or "practice of freedom"
which magnetized by calamities (la calamita as the magnet of time) allows
for the medium, viz., alienation, to be taken like small doses of poison?
Invigoration couldn't be had any other way without our being  drawn
_willingly_ (ecco an "affirmatively understood practice") to its 'eternal
return as the same'. In a "opposition" mode or "negative struggle" it is
quite possible that the - ear of melancholy is that which is antsy for
the fruit of the re-tree-'vel' of the holy if a "selective "principle" or
filter of information[ ]" stain it with "goals" beneath our child-ing
hoods of a Stoa'd re-tree-'vel'. In this _luce non lucendo_ (or entre
chien et loup), the - dithyrambic is the becoming-cameo of
writhing/writing on our monadic walls of what be-yearing "it" isn't even
a step beyond the drying layer of plaster to which  we are pain-tinged
upon as a 'fresco' of t/here being one. So there.

     "Je parle le totem mure		I talk the enwalled totem

      car le totem mural est tel		for the wall totem is
such
      que les formations visqueuses           that the viscous formations
      de l'etre		                  of being
      ne peuvent plus l'enfourcher de           can no longer straddle it
up close
		                    pres.

	         (Artaud, "Centre-Mere et Patron-Minet, _Artaud le Momo_,
in
	          _Watchfiend & Rack Screams: Works from the Final Period
	          by Antonin Artaud_, Exact Change, Boston, 1995).

possibly _something of one_,
entre chien et loup dans
lalangue trespasses,
Lucio