Philosophical Encounters #2 (notes)

Posted: October 23, 2014 in Lecture Notes.

Philosophical Encounters #2

Session 2 Notes.

Still looking at Dellurze and guitarri’s 1000 plateaus this week was about rhythms, Milieus, Refrains, and bodies without organs.


The refrain,


‘’A child in the dark, gripped by fear, comforts himself by singing under his breath’’


Matt explained how we are all creating circles of trends and feel safe in territories; using this example above we discussed how the boy creates a territory for himself by singing. The song is separate and may appear to have no relevance to being in fear however, when applied in this situation he has created a circle or territory of comfort for himself. Is it more than just the music? In the comic strip we see he is advised to pray every night for protection.

  • More examples..
  • Dog peeing on tree
  • Bird song (26secs in)


A territory is always en route to an at least potential deterritorialisation, even though the new assemblage may operate a reterritorialisation (something that “has-the-value-of” home).



Everyday in life we create circles/territories, in cities, at home, at work, to discern from our created order the outside chaos.. we either let people into our circles or we step out into others. In relation to our art and music we create or join in on circles and trends too. Once we notice that there is an outside to our inside, the refrain states that you are placed into a process of thought in regards to; 1. Identifying your territory, 2. What shall you do about it or for it & 3… Acting upon your decisions based on your investigation…


Not necessarily in this order either, it’s the way these steps are so relative to each other they are all parts of the assemblage creating territory. The refrain is an assemblage of territory. With out the comfort of territories there wouldn’t be a perception of a chaotic outside…

 ‘’From chaos, Milieus and Rhythms are born…

Every milieu is vibratory, in other words, a block of spacetime constituted by the periodic repetition of the component’’

 the above statement is a nice way to explain sound.. (elaborate)


territories are a product of milieu and rhythm. When an act has become expressive in its space by the process of the refrain, it will then identify itself and by creating these territories we are all proving to be artists in our own right. By creating sustaining and venturing out to new territories, circle or trends…

So in regards to music rhythm and melody have become expressive/territorialised. (bring back to point of nothing is new and

 Every milieu is vibratory, in other words, a block of spacetime constituted by the periodic repetition of the component’’

The territory is the product of a territorialisation of milieus and rhythms. Territorialisation is an act of rhythm that has become expressive or of milieu components that have become qualitative. Can this becoming, this emergence be called Art? That would make the territory the result of art. The artist: the first person to set out a boundary stone, or to make a mark.


  • The work of art is a being of sensation and nothing else: it exists in itself. Harmonies are affects. Consonance and dissonance, harmonies of tone or colour, are affects of music or painting […] The artist creates blocs of percepts and affects, but the only law of creation is that the compound must stand up on its own (What Is Philosophy)


The territory itself is a place of passage. The territory is the first assemblage… But how could it not already be in the process of passing into something else, into another assemblage?


Society, systems, authority, instruments engines are all mechanic assemblages.


Everywhere it is machines- real ones, not figurative ones: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections.” (Anti-Oedipus)


We will call an assemblage every constellation of singularities and traits deducted from the flow—selected, organised, stratified—in such a way as to converge (consistency) artificially and naturally; an assemblage, in this sense, is a veritable invention. Assemblages may group themselves into extremely vast constellations constituting “cultures,” or even “ages”; within these constellations, the assemblages still differentiate the phyla or the flow, dividing it into so many different phylas, of a given order, on a given level, and introducing selective discontinuities in the ideal continuity of matter-movement (Anti Oedipus

 territorial refrains that seek, mark, assemble a territory

territorial refrains mark new assemblages, pass into new assemblages by means of deterritorialisation and reterritorialisation

 “Everything is production” explains that every idea that you make creates co-ordinates of something new. Your productions will reciprocate into another production and so on so forth. Everything you consume is directly produced into something else and what you produce is directly consumed by others.

 Given the above subjects or concepts we ask ourselves how can we confidently break out of our built up territories and comfort zones without a leap of faith or the will to keep pushing on for bigger better (the desire for growth) human nature for more…


That which has been is that which will be, And that which has been done is that which will be done. So there is nothing new under the sun.


Find your body without organs!

Inspired from a play called The Masochist, dellurze and guittari took the concept of finding your body without organs…

 Why such a dreary parade … when the BwO is also full of gaiety, ecstasy and dance? Why not walk on your head … see through your skin, breathe with your belly … Where psychoanalysis says, “Stop, find your self again,” we should say instead, “Let’s go further still, we haven’t found our BwO yet, we haven’t sufficiently dismantled our self.”

 In a quest to find your self we need to break out of all stigma being created by society, systems and procedures that are already known.. Venture into the unknown.. almost like to find yourself you must go further still into the abyss until dismantling yourself completely you will find when you return that the old body is no longer there, instead something entirely new exists.

A body without organs is made up in a way that it can be populated and occupied only by components or parts of the assemblage.. not fighting to be number 1 but to be everything at once working in unison, contributing to the expression of its particular space in time.

Theres is a plane of consistency (the assemblage) that runs through matter, ideas, emotions and machines and a body without organs can access these complexities by creating things that are an expression of self life or emotions at any given time.

 When I say that “Alice [from Alice in Wonderland] becomes larger,” I mean that she becomes larger than she was. By the same token, she becomes smaller than she is now. Certainly, she is not bigger and smaller at the same time. She is larger now; she was smaller before. But it is at the same moment that one becomes larger than one was and smaller than one becomes. This is the simultaneity of a becoming whose characteristic is to elude the present (Deleuze, 2004: 3)

 Talk about the above.. No one is ever still. No matter how slow the progress we are a constant animation of learning and growing.


Becoming Animal.

 The painter and the musician do not imitate the animal, they become-animal at the same time as the animal becomes what they willed…Becoming is never imitating\

John cages 4’’33 is a great example of how silence has been re-territorialised into an art form giving us a whole new relationship to music

 Music is a deterritorialisation of the voice, which becomes less and less tied to language…

The becoming-woman, the becoming-child of music are present in the problem of the machining of the voice. Machining the voice was the first musical operation…


Animals games and nomads\?


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