Subject: Immanence of I and balck holes
From: Chris Jones <ccjones-AT-ceinternet.com.au>
Date: Thu, 04 Nov 2004 16:52:48 +1100


Just read an interesting article on first person singular which folds
second person into first person singular by Eve Kosofsky Sedwick, "Shame
and performativity: Henry James's New York Prefaces"

It uses Silvan Tomkins concept of shame as an experience of the self by
the self where the phenomenological distinction between object and
subject is lost, hence shame as an affect is a stranger. So the
performative utterance, "shame on you" is first person singular. It also
glosses quickly over Austin's performativity concept in _How to do
things with words_. Tomkins is a Spinozan monist, I should add. Anyway,
have to do a google to find the article online, but it may be of some
interest re the immanence of the I as first person singular. One could
also think of film performance, taken as a whole, not just the character
dialog, as first person singular. Perhaps the sound track and visual
images are not a real distinction in monist univocal terms.

Also, taking a suggestion from Heidegger and going back to basic
problems, a black hole is a curvature or folding of space into a
singularity, from Stephen Hawkins following Einstein's General Theory of
Relativity. So a black hole is a point of infinite gravity, since
gravity is the curvature of space. So if poetry is a black hole, it is
also a bifurcation point in disequilibrium and new and truly novel
and wondrous affects and bodies are created intransitively sort of like
tipping over the edge of infinity into new infinities. A sort of
continuous or transitional bifurcating as absolute infinity. Reading
quickly over the black hole in ATP, D&G seem to see a black hole in
Kantian terms of gravity as reactive attractive force or the
mathematical sublime. Perhaps I was wrong to say black hole in D&Gian
terms? Gravity as a curvature of space also functions to create matter
where space and matter are created together, which is the break Einstein
made with the Kantian a-priori pure empty form of space which is
transitively filled with matter. This breaks the transcendental and
hence the broken form of time, as I understand. A poetics which breaks
with or is foreclosed to philosophy, that is refuses the transcendental
appropriation, by engaging with the elastic reactive forces in the
becoming concept in ATP. So this would be a poetics of immanence of the
I as first person singular. It starts to suggest a break with a fourth
person singular poetics of the Beats, eg Ginsberg's Howl. A break as
continuity or transitional in that it not only shatters or fragments but
is broken in the etymological sense of a go between, which refers back
to elements in the becoming concept, of course, and yet the concept is
foreclosed to the broken form.

-- 
Chris Jones <ccjones-AT-ceinternet.com.au>