acceleration, complexity, exchange, laughter, network, relation

Between Planes


Relata. Noise (always-already virtually present) vibrates, and only indicates in becoming-channeled. Primary indication is extinction, dis-embodiment (subject), dis-articulated (sign), dis-simulated (situation). Immediate indicia; omen or axiom? –At any rate the percept and the affect are in a troubled relation. We attempt to attune a machine to this relationality; its speed approaches infinity asymptotically; it is exologically “determinative” insofar as:

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becoming, machine, metaphysics

Speed of Time

Acceleration physically denotes a second-order or cybernetic speed of speed; analogically, celerities in the technological phylum, mutation-rates of technologies of inscription (framing, writing, coding), permutational-vectors in expressive media, denote a cybernetic speed of time.

A time in a way which is without past or future; an eternally ephemeral or transitional time which is light, spacing, energy. Already a kind of quantum power plant: a device to activate emergence; a virtual machine which permits transduction of intensities, qualities across ontological borderlines, attuning forces and properties to the fulminating delirium of nothingness; so a kind of “technical” time capable of establishing a functional enframing of the world within regimes of abstract operations. Continue reading

becoming, difference, language, machine, ontology



The emancipation of a line of difference; Movement thinking itself; Becoming-imperceptible; Demonic signatures; Degrowth of vision; Experiment cautiously; All maps are provisional; All nodes are networks

The emancipation of a line of difference

Only in extinction, annihilation before the rising ground, can a process of differentiation emancipate itself from its repetitive articulation in both directions at once, break free from the entanglements and alienation of preconditions: situation, signifiance, subjection.

How does a difference exceed the situational, overload the signalized, reprogram the subjectivized? The birthplace of monsters: the unconscious, the law, language; so many lines of abolition. The inoperative darkness which links and separates at once, bidirectional but nullary and auto-affective, consuming by being-consumed.

Time, light, the sea; a pure multiplicity, a line or volume of infinitesimal differentiation. We catch a glimpse of the distributed genesis of relation: the emergence of emergence itself. Termination and involution. Virtual and actual, timelike and lightlike; guest and host, abolition, redemption; all at once.

The burrow, the forest or cyberspace; developmental toxicity rages through these perforated terrains, conjoining and transmuting smooth and striated spaces through an ad hoc inter-dimensional chaos. One may perhaps glimpse in holey space the furtive trace of an empty form of time.

Lines of permutation are perhaps always-already lines of perverse monstrosity. Memory or becoming involves a critical punctuation of a pure being, rendering the axis or ontological continuity to the beyond: from empty and blank to lacerated, open(ed); from positive, redoubling to irreflective, anechoic.

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acceleration, becoming, language, metaphysics, ontology



Artist or artists unknown. [Though I suspect Nicholas Alan Cope & Dustin Edward Arnold.]

Since before memory, certainly the Greeks, a temporal continuum supervening upon the physical universe delimited the scope of ontological speculation. This delimitation of vision to a vertical axis transpiercing the cosmos necessitates a moment of insight generated through a brutal acceleration or jerk into clarity/modernity, or alternately futurity/sightedness; at any rate unleashing an irreversible and continuous transposition of subjects, translation of signifiers, transversalization of situations.

The fluidity of this image of time is experienced only in absolute survey, from the perspective of a violently-interpellated point at infinity. The displacement of phenomenological time depends on the decoding of the cosmos enabled through the impossible division of ordinary time by nullity. Primal or ordinary time, before the letter, is more ostensibly fluid than this terrifying vista of an eternal time of equivalence (born alongside tragic mythopoesis.)

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Lecture on Huxley contra Freud 4/1/13; ACLA Paper on Guattari

On April 1st of this year at 11:30 I will be giving a talk on my paper concerning Huxley and Freud. For those of you in the area, it’d be great to see you at Emory. For those of you outside of that area, I’ll try to see if we can get a recording of the event. Joe that could be something you can handle🙂. This lecture is a PSP luncheon meeting, and it finishes out my requirements for the PSP certificate (psychoanalytical studies).

Also, on April 8th at Toronto for the ACLA I will be giving a paper on Guattari and components of passage. I am already contemplating reflecting on Huxley or Proust for Guattari’s examples. Brave New World would have everything one would need to trace most of the transformations of the schizoanalytic fields Guattari envisions in Machinic Unconscious.


Constant’s Seductive Education, or Adolphe’s Astonishment (with translations)

[Update: I have taken the liberty of translating, by my own limited and critically biased means, the French citations of Constant in this essay. I hope that this makes for a more enjoyable and comprehensible experience! :)].

Benjamin Constant’s Adolphe presents the reader with the guiding inspiration behind its genesis, which is that what is at stake here is a narrative that would feature only two main characters. In his preface to the third edition of the novel, Constant himself broaches this idea in relation to his attempt to thwart the counterfeit versions of his novel by writing that the work concerns “la possibilité de donner une sorte d’intérêt à un roman dont les personnages se réduisaient à deux, et dont la situation serait toujours la meme” [the possibility of giving a sort of interest to a novel that would be reduced to two characters and whose situation would always be the same] (32). If we take this claim seriously, it is a question of what emphasis is to be given to the notion of “sameness” in the situation of the novel. According to the third preface, what seems to be the “same” in the narrative is also coincidentally indicated by how often Constant himself is approached by his readers with testaments of how they identify with the narrator and titular character Adolphe: “ce qui me ferait croire au moins à un certain mérite de vérité, c’est que presque tous ceux de mes lecteurs que j’ai rencontrés m’ont parlé d’eux-mêmes comme ayant été dans la position de mon héros” [what made me believe at least in a certain merit of truth {for Adolphe} is that almost all of my readers whom I’ve encountered have spoken about themselves to me as having been in my protagonist’s position] (33). Furthermore, at this point one should also ask: which situation is the same, which situation is the model for the sameness of the text, and to which two personages is the narrative reduced? In other words, what is the general situation of the novel that leads to such a universal identification on behalf of its readers? Although in a first reading of the novel the answer appears to be quite obvious that the two characters in question are Adolphe and Ellénore, perhaps “le moule universel” [the universal mold] of these two personages is more abstract and not necessarily easy to identify with proper names.  In order to shed more light on this subject, we will investigate what it means for the reader or anyone to claim to be—or more specifically and crucially “to have been”—in the position of Constant’s “protagonist”.  The guiding thread for this reevaluation of Constant’s famous claims in his third preface will be the extent to which the generalized theory of seduction regarding the “allogenetic” conception of the unconscious put forth by Jean Laplanche in his reading of and with Freud can be put to good use in rereading and resituating the orientation of Adolphe’s narrative thrust.

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To Read or Love as She Pleased: Dream-Reading ‘Dora’ through Dora’s Reading-Dream

2012-10-12 00.19.42

They do it in fear and trembling, with an uneasy look over their shoulder to see if some one may not be coming.—Freud, Dora: An Analysis of a Case of Hysteria, Touchstone: New York, 1997, p. 92.

How are we to approach the singular genre of the case history that Freud develops early on in his psychoanalytic and writing career? This genre is all the more striking in his first case history Dora: An Analysis of a Case of Hysteria precisely because it remains in fragmentary form for several reasons. Although the text is divided into five parts—which might spark in the literary critic the desire to see the structure of a Shakespearean play—the plot and subplot of the work is not necessarily easy to locate, for the action seems to encroach on the divisions and overflow on all sides. Perhaps this is another consequence of the fragmentary nature of this first case history or an indication that Freud has not mastered the genre with his first attempt, but it is necessary to remember that there is a multiplicity of narratives at play simultaneously throughout the work whose compositeness requires careful analysis before suggesting any unproblematic theoretical wholeness or unity.  But it is also the fragmentary status of Dora’s desire indicated by the fragments of her memory that sustains and also complicates the narration of this case history.

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