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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aesthetics, becoming, difference, disaster, laughter, machine


Paul Klee, “Insula Dulcamara” (1938); Oil on newsprint, mounted on burlap

I began writing this before disaster struck very close to home; and so I finish it without finishing it. A disaster never really ends; it strikes and strikes continuously — and so even silence is insufficient. But yet there is also no expression of concern, no response which could address comprehensively the immense and widespread suffering of bodies and minds and spirits. I would want to emphasize my plea below upon the responsibility of thinkers and artists and writers to create new ways of thinking the disaster; if only to mitigate the possibility of their recurrence. (Is it not the case that the disaster increasingly has the characteristics of the accident; that the Earth and global techno-science are increasingly co-extensive Powers?) And yet despite these necessary new ways of thinking and feeling, I fear it will remain the case that nothing can be said about a disaster, if only because nothing can ultimately be thought about the disaster. But it cannot be simply passed over in silence; if nothing can be said, then perhaps everything may be said.

Inherent to the notion of risk is the multiple, or multiplicity. The distance between the many and the multiple is nearly infinite; every problem of the one and the many resolves to the perspective of the one, while multiplicity always singularizes, takes a line of pure variation or difference to its highest power. A multiplicity is already a life, the sea, time: a cosmos or style in terms of powers and forces; a melody or refrain in its fractured infinity.

The multiple is clear in its “being” only transitorily — as the survey of a fleet or swarm or network; the thought which grasps it climbs mountains, ascends vertiginously towards that infinite height which would finally reveal the substrate of the plane, the “truth” of its shadowy depths, the mysterious origins of its nomadic populations.

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becoming, difference, language, literature, micropolitics, ontology


Avaishi, "Music of the Spheres"

Avaishi, “Music of the Spheres”

Light. Events are not inherently luminescent, but perhaps in a certain light (to careful observers) they may become perceptible. Part of the difficulty of this logic is that the event cannot be contained within a stable image or duration; they perhaps consist in this inconsistent stuttering of sign-particles, which are in turn capable of directly becoming cosmic, of becoming all the infinite senses of being. What vision could encompass such a multiplicity? Such a vision must be winged, born of flight; yet the event has been almost exclusively seen at ground level… The event presents itself as a simple materiality — this matter being that of stable bidirectional relations, of structured time and historical urgency; but does the event as such not reveal a certain intimacy with series of powers passing into one another, contingently actualizing singular, one-way relationships — in other words: with a kind of parasitical symbiosis? After all is there not an uncanny emergence from absolute zero demanded by dialogical relations, an acceleration of virtual movements to infinite speeds — explosive actualizations “from nothing” commensurate with pestilence, neurosis, hyperinflation, ontological collapse? Why do breakdowns and contagions precede the event, even perhaps the concept of the event? An infernal engine, an unholy workshop is required to induce the requisite uncanny and highly-contingent situations in which they can emerge. A line of flight tearing at the seam of the cosmos: the event rides a wave of radical decoding and weaponization; it presents a body or a subject not only with the problem of transmission but more ominously of cryptanaylsis and disarmament. Events present thought with an unnatural abyss, even a terrifying vortex; the greatest risk of thinking the event is omitting the background noise against which it becomes audible; in this sense the event is wildly contingent, merely an artifact of the white noise, the abysmal depths, the darkness from which it distinguishes itself.

Differend. Only what stirs, what stutters, what shakes is essential; only a minor literature, and only when it directly mobilizes intensification and becoming, is capable of releasing from the bondage of the signifier and the subject (and hence the body, the spirit, the cosmos, existence, time.) Minor literature deploys infinite movements as emancipatory operations; in this sense a literature is not “minor” in a structural or numerical sense, but rather only exists because of a people who are yet to arrive, that is: infinite speeds are the engine of minor thinking and writing, and the acceleration towards them is gravitational; is a minor artist or writer not always already drawn forward into a dangerous course by an unbroken dawn? A knife’s edge of pure mutation permits incision through reality itself; minor writing becomes transcendental through a process of empirical experimentation with speeds and movements. Difference in itself, the recursion of infinite movement repeating-in-itself; repetition in itself, the divergence of infinite speed differing-in-itself: the minor transforms, permits the differend or the different-in-itself to become audible and visible, by shattering the linear order of time in the name of a time to come.

alterity, eventfulness, incommensurable, language, philosophy, polyvocity


Permutation. An idea, an axiom, and especially a supposedly universal system, cannot help but attach to what is readily available. A finite stock; an endless and chaotic assemblage of variations, as Levi-Strauss’ famous bricoleurs: scientists, artists, philosophers, revolutionaries — what but psychosocial handy-men, making use of what is both close by and useful, what is already and what can be quickly assembled? How could we create new machines, except by utilizing the stock which remains from previous constructions (and deconstructions)?

Michale Brun, A Moment of Silence (1/3)

Michale Brun, A Moment of Silence (1/3)

Novel. The event is rare — is this not an inherently tragic proposition? Would not the souls to witness it  discover the event branded upon them indelibly, or else lost forever? For the new can indeed induce joy; yet under different conditions it is capable of producing a strain under which a break is nearly unavoidable. –Is there breakthrough, novelty, only in extraordinary cases? Deleuze reminds us that Spinoza kept for years the coat he wore the day a young man attempted to take his life, in order to remind himself that human beings do not always love thought. That the event is rare seems a platitude; yet it can be an opening for gloomy passions, for a creeping cynicism and an uncanny piety: in short the belief that there are few beings in the world capable of the creation of new capacities — new concepts, new passions, new perceptions… But we do not know the thresholds, we are groping in the dark: the event is an event, they come in bursts, and their frequency depends on the associated rates of flow. An event is indeed infinite, but to seek a living, transcendent meaning in the pure rate of innovation is to fall prey to one of the most dangerous lures for thought today. –An infinite number of effects is not a cause; nonetheless we believe in extracting the cause from ‘within’ the effect, thinking we are ‘objective’ by thus subtracting the true cause from the field of the question, all the while we are actually subtracting the thought itself from the consciousness of thought.

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capitalism, concept, desire, difference, event, language, parasite, problem



Mark Rothko


Non-expression. Speaking is a donation of words; but in this donation is dramatized an idea of alterity, an uncanny and infinite Power mysteriously unleashed, and this by a seemingly peaceful sharing of signs. 

Is it possible? Ten thousand years of speaking, and still we are waiting for a sign.

Problems. We owe to Deleuze the discovery that the difficulty of a problem is not simply the number of differential elements it assembles within a single ideal situation, but rather the process of problematization of an element or elements which somehow causes the contents of the problem to problematize the very situation itself. This marks  a radical becoming-social of problematics — or if you like, the becoming-event of the concept (becoming-problem.) Yet does it not seem as though this method is still profoundly Lacanian somehow, as though the real is being implicitly understood as a strange hyper-real gap between Difference and itself — mysteriously and paradoxically allowing a differentiation to differenciate itself infinitely, suspending both the emotional-organic ontology of desiring-repression as well as the mechanical logic that underlies materialism, allowing thought to move at infinite speed on a hyperplane of immanence — ripping a hole through the symbolic networks, allowing the transpiercing and reprogramming of the assemblage by the outside? The difficulty remains even if we understand the practice of militant problematization or counter-actualization to be a process of differentiating problematic or ‘insurgent’ elements of the situational social assemblage with respect to their capacity for transformation.

A certain noise is all it takes. Parasites can indeed be shaken off and immediately so; but they are chased out only by a greater noise, by the willing invitation of still more powerful parasites. –So at least there are specific cries which are anathema to a given variety of parasite: the roaring of their host-cum-predators. Of collective liberation.

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abyss, birth, cycle, disorder, erasure, learning, multiplicity, parasite, trace, transcendence, universal, zero




A properly ontological investigation is a ceaseless circulation around the notions of emptiness and presence, a rigorous attempt to discern the peculiar concepts of existence and nothingness, always and once again a faithful commitment to seeking out ones and zeroes. Patching up holes; but precisely in such a way that the reality grasped by ontology (like theology) is always-already as a shadow of reality, like the phantasm of another life. Cantor thought transfinite series a pure and untouchable trace of Difference. A proof of transcendence, disguised as a proof of immanence. But how else could a universal theory of events be constructed?

The critique of ontology encounters yet another surprise when it allows its gaze to move beyond the event itself. The patient observer discovers within the folds of interleaving processes an uncanny kind of hidden writing, whose nature is exceptionally difficult to grasp, for the nature of this half-erased or subtle writing ceaselessly shifts its ground as quickly as the question is posed, and can just as easily turn out to have been nothing at all. –A coincidence, upon which ontology has always made a strange decision: that being and nothing are One, existence is non-existence. God may or may not exist, but this subtle writing can be exhumed from the essences of things. It has affirmed this strange paradox precisely in order to allow a meta-philosophical plane of thought to be constructed. 

Being is the first focus of the elliptical orbit traced by ontological thinking. The basic ontological statement is made by Lucretius: all things have within them the seeds of their becoming. Even the void, absolute nothingness, can be seen as a positive emptiness capable of infinite becomings. Being can thus be seen as a kind of positive nothingness, the radically empty pure essence of reality. Hence to be is to become everything — to communicate with infinite becomings, with forces radically exceeding our “individual” structural limitations: the earth, the cosmos; animals, plants, molecules, stars, etc. Thus nothingness is the second focus of the elliptical orbit traced out by ontology, for the reason that to become capable of becoming is the event itself — the paradox which ontology affirms as its rigorous essence: to diagram being. 

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