final miguel prado - geotraumatic evacuation of the voice - english french pdf

8/13/2019 Final Miguel Prado - Geotraumatic Evacuation of the Voice - English French PDF

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Ce texte est une rflexion sur la possibilit denvisager la pense etle corps humain comme champ dexprimentation dans le contextede limprovisation non idiomatique (ou dautres types de musiquesexprimentales). Comme rponse partielle cette question, il exposeles premiers lments dun projet thorique : lvacuation gotrau-matique de la voix.

partir du concept de gotraumatisme , dvelopp par Nick Land etReza Negarestani, en passant par certains concepts de la philosophiede Deleuze, Guattari et Laruelle, ce texte tente dexplorer la possibilitdune performance consistant vacuer la voix de notre corps. Lexer-cice suppose dacqurir une perspective extrieure notre subjectivit(non seulement comme possession de perceptions, de jugements, delangages etc. du point de vue dun sujet, mais aussi comme subjecti-vit transcendantale) et aux objets porteurs de notre cognition. Pourque se lzarde, peut-tre, la dfinition apparemment vidente de lexprimental (sciences pures ou humaines qualifies dex-

primentales) comme fond sur lexprience subjective, sur ce quonconnat et atteint travers elle.Pour un outil qui nous permettrait dvacuer les traumatismes, au sensgophilosophique du terme. Au fil du texte, on tentera de prciser quele traumatisme ne doit pas tre compris comme quelque chose de vcu,mais comme une sorte de coupure pratique par le rel ou labsolu dansson propre ordre unificateur, coupure qui ouvre la possibilit dun hori-zon localis et dune condensation rgionale (Negarestani, 2012a).

Mots-cls | gotraumatisme | subjectivit | dterritorialisation |dpersonnalisation | corps sans organes

Abstract

This text reflects on the possibility of contemplating thought andthe human body as a field for experimentation in the context of non-ideomatic improvisation (or other kinds of experimental music).Partly in response to this question, it sets out the first steps of aspeculative program:e geotraumatic evacuation of the voice.Starting from the concept of geotrauma developed by Nick Land andReza Negarestani and transiting certain concepts of the philosophyof Deleuze, Guattari and Laruelle, it will seek to investigate thepossibility of performatively evacuating the voice from our body.This being an exercise in acquiring an outside perspective of oursubjectivity (subjectivity understood not only as the property ofperceptions, judgments, language... from the point of view of thesubject, but also in its notion as transcendental subjectivity) and theobjects that mediate our cognition.Trying to crack the apparent insolubility of the experimentalthing (science or humanities classified as experimental) as that

which is founded on the subjective experience; what is known andreaches through it.A tool through which we can drain traumas in its geophilosophicalunderstanding. As the text advances we will try to point out thattrauma should be understood not as what is experienced, but as aform of cut made by the real or the absolute in its own unified order;a cut that brings about the possibility of a localized horizon and aregional condensation (Negarestani, 2012a).

Keywords| geotrauma | subjectivity | deterritorialization | deper-sonalization | body without organs


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Le besoin se cra son organe, le larynx non dvelopp du singe se transforma,lentement mais srement, grce la modulation pour sadapter unemodulation sans cesse dveloppe, et les organes de la bouche apprirent peu peu prononcer un son articul aprs lautre. (Engels, 1876)

CORPS ET EXPRIMENTATION Lhistoire des musiques exprimenta les est riche dexemples ole corps humain est utilis comme outil principal. Cependant, il a presque toujours temploy ( la faon dun instrument de musique traditionnel) pour projeter une sriede dcisions esthtiques orientes vers lauto-affection et/ou laffection collective1. Depuis Charlotte Moorman jouant dun violoncelle de glacecoll son corps dnud jusqu Justice Yeldham lchant, mordant, recrachant desmorceaux de vitre amplifis, le corps humain semble occuper une position dlicatedans les musiques exprimentales.

Dans le contexte de la performance, on rencontre toujours unou plusieurs corps : le public, lartiste, les techniciens, etc. Mais quand le corps humaindevient matire performance, il sert le plus souvent reprsenter visuellement unesensation physique, manifester les limites physiques les plus lmentaires : le danger,la fracture, les conditions subjectives de la sensibilit, notre prsence en public.

Mais noublions pas quil est aussi un moyen de rintroduirelartiste dans la relation de pouvoir inhrente la situation, de relgitimer la visionindividuelle, la perspective subjective.

Le corps exprime la situation sociale un moment donn et y apporteen mme temps une contribution particulire. Invablement donc, puisquiltransmet les structures sociales en prsence, le corps accomplun travailde communication : il devient une image de lensemble de la suation socialeperue, le vhicule recevable des changes qui la composent. (Douglas, 1979 : 168)

La matrialisation de nos penses dans les musiques exprimentales puisque la

production de sons au moyen dinstruments y est marginale semble invitablementtourne vers le processus de verbalisation de ces penses.

Les exemples de cet art du text-sound sont innombrables.On peut y distinguergrosso modo deux types dartistes : certains utilisent lappareilphonatoire comme instrument, lexprience tire du son abstrait constituant le

Necessy created the organ; the undeveloped larynx of the ape was slowlybut surely transformed by modulation to produce constantly more developedmodulation, and the organs of the mouth gradually learned to pronounce onearticulate sound aer another. (Engels, 1876)

EXPERIMENTATION AND BODY In the history of experimental music, the human body hasbeen used on numerous occasions as a primary tool. Despite this, it has been usedmostly in order to project (as if it were a conventional musical instrument) a set ofaesthetic decisions directed at the self and / or collective affectation.1

From Charlotte Moorman accompanied by a cello built of icestuck to her naked body, to Justice Yeldham sucking, biting and spitting againstpieces of amplified broken glass, the human body seems to play a delicate role inexperimental music. In this context, we often find one or several bodies: the audience,the artist, producers and those working on the event, etc. But when the human bodyis incorporated as material for performance, this element usually acts as a visualrepresentation of physical sensation; a way of manifesting the most basic physical limits:the danger, the fracture, the subjective conditions of sensibility or our exposure in public.

Despite this, we shouldnt rule out the notion that it is also away to reintroduce the artist in to the power relationships of the situation in itself: toreintroduce and re-legitimize the individual vision, the subjective perspective.

The body is expressing both the social suation at a given moment, and alsoa particular contribution to that suation. Inevably, then, since the body ismediating the relevant social structures,does the work of communicating bybecoming an image of the total social suation as perceived, and the acceptabletender in the exchanges which constute . (Douglas, 1979: 168)

Keeping to one side the production of sounds throughinstruments, the materialization of our thoughts through experimental music seems

inevitably oriented to the process of verbalization of these same thoughts. Examples arising from Text-sound art are endless. Roughly,we can separate the work of artists who use the vocal apparatus as an instrument andwhose principal means of coherence lies in the experience of abstract sounda goodexample of this would be the Japanese Noise singer Junko, from the work of other

1 Et ce en dpit du prsuppos au

cur des musiques exprimentales,

qui pourrait se rsumer par cette des-

cription de David Cope : une musique

qui reprsente le refus daccepter

le statu quo (Cope, 1997 : 222). Il

semble que la rnovation des formes

de production musicale ne se soit pas

toujours accompagne de celle de leur

processus de rception, qui reste iden-

tifi au processus de perception senso-

rielle et la beaut.

1 Despite the presumption which

is located in the bosom of experimental

music and that could be summed up in

the words of David Cope describing it

as which represents a refusal to ac-

cept the status quo (Cope, 1997: 222).

It seems that a renewal in the forms

of musical production in part has not

been accompanied by a renewal in the

process of receiving what is produced,

which remains identified with the pro-

cess of sensory perception and beauty.


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principal facteur de cohrence (la chanteuse de JapanoiseJunko en serait un bonexemple) ; dautres produisent des mots audibles plus ou moins coups de leur sens,dans lintention directe de transmettre une information smantique. Cest le cas de laclbre uvre dAlvin LucierI Am Sitting In a Room:

[...] Je considre cette activ non tant comme la dmonstration dun fa

physique, mais plutt comme une faon de lisser les irrgulars que monnonc pourraavoir. (Lucier, 1969)

Ce que suggre Lucier en purant ainsi son lger bgaiement( travers le processus connu : enregistrement de son nonc, reproduction, nouvelenregistrement, etc.) dpasse le jeu de rtroalimentation, de lente dsintgrationde sa voix intelligible, remplace par des sons et des frquences sous-jacentes auxbgaiements et dtermines par larchitecture et lacoustique de la salle. En se diluantdans lespace rsonant, sa voix ne dmontre pas seulement un phnomne acous-tique : elle renvoie la dcomposition de la subjectivit de linterprte.

Les exemples de ce type sont particulirement intressants, car icilartiste travaille sur quelque chose dont le sens est jusqu un certain point trs spcifiqueet dont la matrialit se trouve en fait en nous-mmes, et non dans un dispositif destin produire des sons (comme un instrument de musique, pour citer le cas le plus vident).

Ce dispositif joue pour limprovisateur, lartiste ou le musicien,le rle dun objet transitionnel . D.W. Winnicott a forg le terme d espacetransitionnel pour dsigner une phase intermdiaire de dveloppement situe entreralit psychique et ralit extrieure. Cest dans ce t espace quon rencontre l objettransitionnel , utilis pour offrir un rconfort psychologique.

Si on veut rechercher un point de vue extrieur, il est importantdliminer ces objets intermdiaires, objets enracins dans de confus processusdauto-identification, qui donnent lillusion dune fausse matrialit2. Linformation verbalise suppose une dcision, issue dunprocessus mental/cognitif, et suppose aussi lexistence dun objet mental .

On ne peut pas raliser dtude exprimentale sans appor-ter de modifications au vecteur de ltude. Dans le contexte artistique, linstrument

comme objet transitionnel , source de scurit, napporte pas plus de variable quilnouvre la possibilit dun rsultat musical inconnu. Ses proprits affermissent lex-prience, lloignent des terrains instables.

[...] jouer du monocorde ntarien de plus, rien de moins quune vrificationpassive dides dj fixes, de la ttractys mtaphysique. Ctaune maniredagir fonde sur des penses prtablies . (Mazzola, 2002 : 33)

artists, who produce audible words more or less divorced from their meanings, withthe direct intention of conveying semantic information. Such is the case of the well-known work of Alvin Lucier:I Am Sting In A Room (1969).

[...] I regard this activy not so much as a demonstration of a physical fact,but, more as a way to smooth out any irregularies my speech might have.

(Lucier, 1969)

What Lucier suggests with this purification of his slightstuttering (in the recording process of his speech, playback, and its recording again,etc.), exceeds the game of feedback and gradual disintegration of his intelligiblevoice, as it is replaced by tones and frequencies established on the basis of disfemias/stuttering and determined according to the architecture of the space and its sonority.Besides the demonstration of an acoustic phenomenon, his voice diluted in theresonant space, also refers to the decomposition of the interpreters subjectivity.

Examples like this are particularly interesting because theyconcern something with a very specific meaning, the material condition for which ariseultimately in ourselves (our organs, our vocal apparatus), and not in any other devicefor the production of sounds (the most obvious case being musical instruments). This device works for the improviser, artist or musician as atransitional object. D.W. Winnicott developed this term to describe an intermediatestage of development between psychic

reality and external reality. In this transitional spacepsychological comfort can be provided by finding such a transitional object. In the process of searching for an external point of view it isimportant to remove these mediation objects; Objects rooted in confusing processesof self-identification, which become a fallacy of misplaced concreteness.2

As the product of a mental/ cognitive process, verbalizedinformation requires a decision just as it also requires a mental object. It is not possible to sustain an experimental study withoutiteratively altering that studys base assumptions. In the artistic context, theinstrument as a transitional object does not introduce a variable or provide a

possible unknown outcome in music. Its properties as a stable source of securityentrench the experience, distancing it from unstable ground.

[...] playing the monochord was nothing more and nothing less than a passiveverification of already fixed ideas, in fact the metaphysical tetractys. It was a kindof doing on the ground of prefabricated thoughts. (Mazzola, 2002: 33)

2 A.N. Whitehead dfinit la

fausse matrialit comme une abs-

traction laquelle on attribue tort

une ralit concrte. La bouche, par

exemple, nexiste quen lien avec le

corps. On peut limaginer de manire

indpendante ; mais dans ce cas, il

sagit dune abstraction, qui doit tre

reconnue comme telle. Si on consi-

dre la bouche comme une entit en

soi, dtache du corps, on succombe

lillusion de la fausse matrialit .

2 A.N. Whitehead establishes

the notion of the fallacy of mis-

placed concreteness as the false

attribution of substantial reality

to abstractions. An example of this

would be the fact that the mouth

only exists in connection with the

body. You can imagine it inde-

pendently; this, however, is an abs-

traction and only justified when

recognized. If we accept the mouth

as an entity in itself, regardless of

the body we incur in the fallacy of

false concreteness.


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En partant du principe que linstrument de musique (matriel,extrieur, objectif) se prtait bien aux expriences musicales, on a sous-estim toutun champ dexprimentation, fond sur le recours nos propres penses (intrieures,subjectives, auto-analysatrices) :

Les sciences exprimentales portent classiquement sur la nature extrieure,

empirique. Daprs une opinion commune partage par Emmanuel Kant, lesexpriences consistent interroger un tmoin passif. La nature est passiveet rpond aux questions de faon objective, cest--dire indpendammentde la personnal de linterrogateur. Ces deux caractristiques passiv,objectiv de la rponse ont t depuis reconnues comme desidalisations errones. Les expriences physiques sont essentiellement desprocessus interactifs, comme lont montr les principes dincertude et decomplmentar en mcanique quantique.Mais la nature physique est aussi ractive un niveau plus conceptuel.Chaque rponse une exprience peut modifier la posion thorique et lesconcepts lorigine de lexprience. [...]Quelle est la diffrence entre nature extrieure et nature intrieure ? Elle reposesur une proprit vidente quoique non fondamentale des phnomnesnaturels extrieurs : leur autonomie. Cependant, au second regard, on dcleune nature intrieure en particulier dans des univers fabriqus par lhomme,comme les mathmatiques et la musique qui nest pas moins complexe etincontrlable que la nature extrieure. (Mazzola, 2002 : 32)

GOTRAUMATISME ET VACUATION GOTRAUMATIQUEDE LA VOIX

Le bruit solaire, ce hurlement dions, cette libration dune smiotiquecosmique quelles abominations peut-il inspirer ? (Negarestani, 2008 : 149)

La perte de linstrument pour lartiste, et donc lobligationdaffronter directement les objets mentaux et leur verbalisation (sans se rfugier

dans des objets matriels transitionnels) nous renvoie aux diffrents organes quiinterviennent dans larticulation du langage : lappareil phonatoire humain commehaut-parleur, mais aussi comme dversoir.

lcoute du disque de Mattin Object of Thought (2010),onsonge quil fonctionne comme une radiographie des flux des penses. Dans cetteuvre, Mattin sefforce dobjectiver ses penses sur le vinyle en superposant desstrates de voix : distordues, fragmentes, altres dans leur hauteur, entrant en col-lision les unes avec les autres ; hystrique tentative dextraire la voix de son corps.Luvre voque mme un humour de cartoon, elle fait penser ces petits person-nages qui se dbattent pour schapper dun pige souris.

The alleged suitability of a musical instrument (material, exterior,objective) for experimentation in music, has underestimated the use of our thinking(interior, subjective, matter analyzed by itself) as a field for musical experimentation:

Experimental sciences are classically related to empirical exterior nature.According to a tradional opinion condivided by Immanuel Kant , experiments

are understood as interrogations of a passive w

ness. Nature is passive and willanswer to the hearing in an objective way, i.e. independently of the interrogatorssubject. These two characteristics, passivy and objective response, havesince been recognized as erroneous idealizations. Physical experiments aresubstantially interactive processes, this was evidenced by uncertainty andcomplementary principles of quantum mechanics.But physical nature is also responsive on a more conceptual level. Each responseto an experiment may alter the theoretical posion and the concepts whichdrive the experiments. [...]So, what is the difference between exterior and interior nature? It relies onthe more apparent, though not fundamental, autonomy of exterior naturalphenomena. But a second view reveals an inner natureespecially on the levelof man-made universes such as mathematics and musicwhich is not lesscomplex and uncontrollable than exterior nature. (Mazzola, 2002: 32)

GEOTRAUMATISM AND GEOTRAUMATIC EVACUATIONOF THE VOICE

What kind of abomination can be inspired by a cacodemonic music such as thatknown as the Solar Rattle, a music which unleashes a cosmic-semiotics in sionized howl? (Negarestani, 2008: 149)

The loss of the instrument for the artist and therefore; the factthat the artist now needs to deal with the mental objects and their verbalization asmaterial for their work (without shelter in transitional material objects), takes usback to the different organs involved in the articulation of speech: the human vocal

apparatus as speaker and at the same time as wastepipe.

After the listening of the Mattins album Object of ought(2010), we can think of how it works as an X-ray of thoughts flux. In this work Mattintries to objectify his thoughts on vinyl by superimposing layers of voice: distorted,fragmented, altered in its pitch, colliding into each other; A hysterical attempt to freethe voice of his body. It seems to evoke the humour of slapstick comedy, inviting us tothink of a cartoon in which hes waving his body in order to escape a mousetrap.

These vowels, which sound contained on the recordas ifemanating from a drainage catheterled me to think about the relationship may be


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Ces sons vocaux circulant sur le disque comme dans une sondede drainage mont amen rflchir aux relations qui pourraient se nouer entre lva-cuation performative de la voix et la thorie du gotraumatisme (fonde sur lesdivers accidents survenus dans lvolution des hommes et de la plante).

Pour citer Reza Negarestani :

La thorie gocosmique du traumatisme plaide pour une rhabilationtraumatique de lhorizon terrestre. Essentiellement, cest une forme extrmede la biologie spculative de Freud dansAu-del du principe de plaisir,poussant jusquau bout les ramifications post-coperniciennes du coup infligpar Freud au sanctuaire intime de lHomme cest--dire son exprienceprtendument axiomatique de la rgional et de lintgr. Chaque rgionde la Terre (du terrain crbral aux scnes terroriales, socioculturelles,biologiques et volutionnaires et jusquau corps de la terre elle-mme,envisag comme un tout) est explique en termes de trace ou de lieu duntraumatisme, au sens que lui donnent Freud et Ferenczi. Le caractre lafois diachronique et extrieur du traumatisme pour lexprience intrieureet la conception axiomatique de la rgional sont alors explors traversdivers modes de tension-synthse ( la fois locale et mondiale) et traversune relation non axiomatique avec la source du traumatisme, qui est ouverte(ou inaccessible, et en vr, sans fond). (Negarestani, 20113)

Rsoudre les tensions en rtablissant ltre vivant (organique)dans son tat antrieur (inorganique) est un acte porteur de mort. Le traumatismerside dans le fait que lorganisme naspire qu mourir ( retourner linorganique) :ici rsident les coupures traumatiques et les tensions quelles engendrent.

La lecture gotraumatique de lvolution sappuie sur unetude gophilosophique des accidents dadaptation qua connus lespce humaine.

Darwin et les gologues avaient dj tabli que toute la surface de la terreet tout ce qui sy mouvataun fossile vivant, une banque de mmoire

rigoureusement dpose depuis des milliards et des milliards danneset ferme lintrospection ; malaxe et retrae par sa propre matire, maishorrible lire si le code est dcrypt, elle dploie ses rc s paralllement ceux voqus par Freud deux histoires dhumiliation entremles. (Mackay, 2012 : 16)

La thorie dite du singe aquatique (Morgan, 1997) offreun exemple daccident dadaptation dans lvolution. Selon cette thorie, leshommes auraient eu pour anctres de s primates aquatiques ou semi-aquatiques

established between a pe rformative evacuation of the voice and the geotraumatismtheory (at the same time followed by the various accidents given in hominid andplanetary evolution).

In the words of Reza Negarestani:

Geocosmic theory of trauma argues for a traumatic rehabil

ation of theterrestrial horizon. Basically, is a terminal form of Freuds speculativebiology presented in Beyond the Pleasure Principlethat takes the post-Copernican ramifications of Freuds blow to Mans inner sanctuarynamely,s purported axiomatic experience of regionaly and integryto extremes.Every region of the Earth (from the cerebral se to terrorial, socio-cultural, biological and evolutionary locales to the supposedly integral bodyof the earth self) is explained in terms of traces or ses of trauma in sFreudian or Ferenczian sense. The diachronicy and exteriory of trauma toexperience or an axiomatic conception of regionaly are then investigatedthrough various modes of tension, synthesis (both local and global) andnon-axiomatic relation to the open (or the inaccessibleand in truth,bottomlesssource of trauma). (Negarestani, 2011)3

Re-establishing in the living thing (organic) its previous state(inorganic) as resolution of its tensions, brings death. Trauma is constituted on thefact that the organism just wants to die (return to the inorganic): it is here that thetraumatic cuts and consequent tensions are rooted.

The geophilosophical review of the set of accidents resulting from poor humanadaptation in evolution, establishes the basis of a geotraumatic reading of evolution.

Darwin and the geologists had already established that the entire surface of theearth and everything that crawls upon is a living fossil record, a memory bankrigorously laid down over unimaginable aeons and sealed against introspection;churned and reprocessed through s own material, but a horrifying read whenthe encryption is broken,s tales would unfold in parallel wh Freuds, like two

intertwining themes of humiliation. (Mackay, 2012: 16)

An example of maladaptation accidents in evolution canbe seen in the Aquatic Ape Hypothesis, (Morgan, 1997) according to which theancestors of humans might have been aquatic or semi-aquatic primates in a shallowwater environment (a product of plate tectonics) on the African coast. For example,some of its arguments include: back and spine problems can be caused by thedevelopment of bipedalism in an aquatic environment, where the mass endured ismuch lower, favouring the adoption of the horizontal alignment of the spine with the

3 Pour une tude plus approfondie

de la thorie du gotraumatisme , je

recommande nouveau la lecture de (Ne-

garestani, 2012a) et de (Mackay, 2012).

3 For a rigorous approach to the

geotraumatism theory wed again

recommend (Negarestani, 2012a) and

(Mackay, 2012).


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Dessin de Alexander Graham

Bell (1892). | Drawing by

Alexander Graham Bell (1892).


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vivant sur la cte africaine dans un environnement deaux peu profondes (issuesde la tectonique des plaques). La thorie se fonde entre autres sur les argumentssuivants : les problmes de dos et de colonne vertbrale pourraient sexpliquerpar le fait que la bipdie se serait dveloppe dans un milieu aquatique, o lepoids porter est beaucoup plus faible, favorisant du mme coup un alignementhorizontal de la colonne avec les jambes. La matrise consciente de la respiration

chez les humains est similaire celle des mammifres aquatiques ; lacquisitionde la parole par lhomme naurait pas t possible sil navait eu conscience desa propre respiration. Si les autres primates ne parlent pas, cest parce quil le urest physiologiquement impossible de retenir volontairement leur respiration. Lagamme de sons que les tres humains sont capables de produire est le rsultatde la descente du larynx ; les seuls autres animaux connus prsenter cettecaractristique sont le dugong, les lions de mer et les morses.

Dans le mme esprit, Robin Mackay souligne, au sujet des tra-vaux de Nick Land :

Concernant Land, ce quil a trouv peut-tre de plus prcieux dansles travaux de Barker, cest lextension de la thorie du gotraumatisme la culture humaine et en particulier au langage, via ladaptation de

la carte corporelle gotraumatique aux stimuli environnementaux ; etcest la perspective dlaborer des modes de dcodage de phnomnesculturels qui chappent au signifiant. Bipdie, station debout, visionfrontale, verticalisation de la face, constriction de la voix par le larynx,autant dindices dune succession de catastrophes traumatiquesqui sparent les potentials matrielles du corps de son actualstratifie. Tout comme la tte du bipde entrave la linar vertbro-perceptuelle, le larynx humain inhibe la parole virtuelle. On ne peutdfaire le visage sans vacuer aussi la voix.Du fade la station debout, la tte a subi une rotation, brisant lalinar vertbro-perceptuelle et crant les condions phylogntiquesqui allaient donner naissance au visage. Cette disposition oro-pneumatique angle drofade lappareil vocal un lieu de collision : les

impulsions thoraciques viennent se heurter au palais. La tte du bipdedevient un obstacle la parole virtuelle. Laccumulation du souffle sousle crne ne se libre quavec le dveloppement linguo-gestuel et lacphalisation.Burroughs suggre que les primates protohumains expiraient surleur langue, du plus profond de leur corps. Un systme deux axes :hurlements et clics, articuls les uns aux autres comme une palette devoyelles et de consonnes, rigoureusement intersegments pour rprimerle continuum staccato-sifflement et son devenir-animal. Collision facialeanthropostructurelle qui attache notre ident au logos []. (c parBarker, Barker Speaks, p. 502). (Mackay, 2012 : 25-26)

legs. Also: the conscious control over breathing in humans is similar to that whichaquatic mammals have; the ability to maintain conscious breathing was essential forhumans in the development of their ability to speak. Other primates do not speakbecause physiologically they are unable to hold their breath voluntarily. The range ofsounds that humans can produce is the result of the descent of the larynx; the onlyother animals known to have this feature are the dugong, sea lions and walruses.

In this regard Robin Mackay points out in Nick Lands work:

As to Land, perhaps what he found most valuable in Barkers work was theextension of geotraumatic theory into human culture and to language inparticular, via this keying of the geotraumatic body-map to environmentalstimuli; and the potential for development of modes of decoding of culturalphenomena that escape the signifier. Bipedalism, erect posture, forward-facingvision, the cranial verticalization of the human face, the laryngeal constrictionof the voice, are themselves all indices of a succession of geotraumaticcatastrophes separating the material potencies of the body from s stratifiedactualy. Just as the bipedal head impedes vertebro-perceptual lineary, thehuman larynx inhibs virtual speech. One cannot dismantle the face whoutalso evacuating the voice.

Due to erect posture the head has been twisted around, shattering vertebro-perceptual lineary and setting up the phylogenetic precondions for the face.This right-angled pneumatic-oral arrangement produces the vocal apparatus asa crash-se, in which thoracic impulses collide wh the roof of the mouth. Thebipedal head becomes a virtual speech-impediment, a sub-cranial pneumaticpile-up, discharged as linguo-gestural development and cephalization take-off.Burroughs suggests that the protohuman ape was dragged through s bodyto expire upon s tongue. Its a twin-axial system, howls and clicks, reciprocallyarticulated as a vowel-consonant phonetic palette, rigidly intersegmented torepress staccato-hiss continuous variation and s attendant becomings-animal.The anthropostructural head-smash that establishes our identy wh logos[quoted by Barker, Barker Speaks: 502. (Mackay, 2012: 256)]

If organic constructions such as our body, are to some extent aconcatenation of accidents in the process of evolution; we can use our vocal apparatusas an opening for an evacuation which echoes this compendium of traumatic cuts:organic and terrestrial. Emulating the resonance of the shells of gastropods, insteadof listening to the air resonating in the cavity of the shell, we could use our glotticcavity, our vocal cords to make audible planetary scarring. Dysarthria, dislalia, thediglossia, the lisp, speech abnormalities, irregular articulation of phonemes, if weobserve this, can we define in the last instance the development of I Am Sting In

A Room (1969), the last trace of speech that is noticed in the work (which somehowbecomes a mark in the sequence of resonances) is the product of anatomical,physiological, evolutionary scarification; accidents, anomalies or malformations in


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Si les constructions organiques, comme notre corps, sontjusqu un certain point la concatnation des accidents survenus dans le proces-sus dvolution, alors nous pouvons utiliser notre appareil phonatoire comme unebouche dvacuation o rsonneraient toutes les blessures traumatiques organiqueset terrestres. Faisant ntre la rsonance des coquillages, au lieu dcouter lair quibruit dans le creux de la coquille, nous pourrions utiliser notre cavit glottique, nos

cordes vocales pour rendre audibles les cicatrices plantaires. Dysarthrie, dyslalie,dysglossie, zzaiement, anomalies de la parole, irrgularits dans larticulation desphonmes : cest finalement sur tout cela que se dveloppeI Am Sitting In a Room(Lucier, 1969). Lultime trace de parole quon remarque encore dans luvre (sorte dedmarcation dans la suite des rsonances) est le produit de cicatrices anatomiques,physiologiques, volutives. Accidents, anomalies ou malformations des organes ou denotre systme nerveux central. Qualits non particulires, qui ne renvoient pas desvertus singulires, mais des catastrophes mondiales.

Du point de vue des artistes sintressant au bruit, se pose laquestion suivante : jusqu quel point le potentiel subversif du bruit au niveau de laforme abstraite (Brassier, 2010) dfie-t-il la capacit de diffusion du capitalisme ?

Le capitalisme fait du visage la reprsentation visuelle

du moi , et on ne peut dfaire le visage sans vacuer aussi la voix . (Mackay,2011 : 41)

Linvestigation du sujet rvolutionnaire ses traumatismes, sa terre, sonterrain, ses tches quotidiennes et ses devoirs rvolutionnaires, cest--direla recherche dalternatives (la libert) et terme, lexport de la rvolutionou llargissement du champ de la synthse ne faque prolonger lapoursue copernicienne de louvert en remontant la grande chane deshumiliations : subversion du gocentrisme par lorbe terrestre, rosionde lessentialisme aristotlicien par Darwin, dprivatisation des sanctuairesintimes de lhomme par Freud, et expropriation des mondes ou champsdistincts de la connaissance au profit dune synthse continue et ouverte,sous les auspices de la neuroscience, des mathmatiques synthtiques et

de lastrobiologie unifie. (Negarestani, 2012a : 43)

Comment accomplir cette tche dans le domaine de la musiqueexprimentale ? Quels procds, quelles optiques nous aideront gagner sur notreintriorit un point de vue tranger la vanit et au narcissisme anthropocentriques ?

On pourra raffirmer cette ide, avance par Brassier etpar dautres4: Le bruit exacerbe le clivage entre savoir et sensation en divisantlexprience ; il oblige concevoir au-del de la sensation. (Brassier, 2009) Dans

our organs or in our central nervous system. These non-particular qualities are notsingular virtues, but global catastrophes. From the artistic circle linked with noise, this question isposed: to what extent does the subversive potential of noise at the level of abstractform (Brassier, 2010) challenge the disseminative ability of capitalism?

Capitalism provides the face as a visual representation of the Iand One cannot dismantle the face also without the voice evacuation. (Mackay, 2011: 41)

The investigation of the revolutionary subjecthis traumas, his earth,terrain, everyday tasks and revolutionary duties i.e. searching for alternatives(freedom) and ultimately, exporting the revolution or broadening the scopeof synthesisis but the continuation of the Copernican pursuof the openby treading along the great chain of humiliations: the orbal subversion ofthe geocentric earth, the Darwinian erosion of Aristotelian essentialism, theFreudian deprivatization of mans inner sanctuaries, and the expropriationof discrete worlds or fields of knowledge on behalf of an open syntheticcontinuum under the auspices of neuroscience, synthetic mathematics andunified astrobiology. (Negarestani, 2012a : 43)

How to carry out this task from a position within experimentalmusic? What procedures or approaches can help us in getting a perspective of ourinterior, indifferent to vanity and anthropocentric narcissism?

Reaffirming the arguments of Brasier and others4: Noiseexacerbates the rift between knowing and feeling by splitting experience, forcingconception against sensation. (Brassier, 2009) It would be interesting to put asidethe particular sensations (which feed the socially prescribed subjectivation) inperformances where the body is involved, in order to play in a new terrain where thefact of investing in our own recognition and individuality has been overcome.

Brassier also points to a Subjective depersonalization as aprecondition for collectivity.

Depersonalization resides in the experience of oneself as if this were an outside observerof mental or bodily processes. Feeling detached from the body or the world. This canbe commonly found in cases of anxiety, panic attacks or the use of psychoactive drugs. Subjective depersonalization is interesting not only asobjectivization of the experience followed by a possibility of a communistsubjectivity (Brassier), but also, taken in the context of sound performance, it canbe the ideal complement to accompany the hypothesis of a vocal apparatus (arising

4 On trouvera un approfondisse-

ment des ides exposes par Brassier

dans Against an Aesthetics of Noise

(2009)

4 What was said by Brassier in

Against an Aesthetics of Noise and in

the textAnti-Self: Experience-less Noise

by GegenSichKollektiv, published in

August 2012 by Continuum in the book,

Reverberations: The Aesthetics, Affect

and Politics of Noise, edited by Michael

Goddard and Benjamin Halligan.


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les performances impliquant le corps, il serait intressant de laisser de ct lessensations particulires (qui alimentent la subjectivation socialement prescrite)pour pouvoir jouer sur un terrain neuf, investir autre chose que notre proprereconnaissance et notre propre individualit.

Brassier souligne aussi que le changement collectif ne peut

passer que par une dpersonnalisation du sujet . La dpersonnalisation consiste faire lexprience de soi comme si on sobservait de lextrieur, tranger sespropres processus mentaux et corporels ; se sentir spar de son corps ou dumonde. Cet tat se rencontre souvent dans les cas danxit, de cr ises de paniqueou de recours des substances psychotropes.

La dpersonnalisation subjective nest pas seulementintressante comme objectivation de lexprience , suivie de la possibilitdune subjectivit communiste (Brassier) : dans le contexte de la performancesonore, elle peut tre le complment idal lhypothse dun appareil phona-toire (n du systme diaphragme-poumon) o se reflteraient les traumatismesqui constituent la subjectivit [de lhomme moderne] ou sa focalisation rgionaledans le monde (Negarestani, 2012b).

Cest en cela que consisterait l vacuation gotraumatiquede la voix (EGV) : une vacuation performative de la voix, un radical pas en avantdans la musique rductionniste.

LEGV se veut un processus formateur, qui partirait de lim-provisation pour favoriser une dpersonnalisation subjective auto-induite et la pro-duction de sons au travers de lexpression verbale. Processus qui commencerait parla prise de conscience et, du mme coup, la distanciation de nos propres pensescomme matriau dexprimentation. Ou encore : se contraindre une perspective delecture de notre pense non comme activit insparable de sa corrlation avec notreesprit, mais directement lie aux structures qui existent dans tel ou tel contexte ;penser depuis un corps physique, connect travers notre systme nerveux laralit physique, et crer une distanciation qui entretienne la brche entre concepts

et objets. Envisager notre intriorit comme une fonction de lextrieur.

EGV ET CSO : DTERRITORIALISATION DE LA VOIX

On peut trouver des similitudes entre lEGV et le corps sansorganes (CsO) de Deleuze et Guattari (1972 ; 1980). La notion de CsO apparat pour la premire fois chez De-leuze dans Logiqu e du sens (1969). Lauteur emprunte lexpression une piceradiophonique dArtaud,Pour en finir avec le jugement de Dieu (1947). Lhommeest malade , y clame Artaud, parce quil est mal construit : pour lui, la voix

from lung-diaphragm system), which reverberates in the traumas that constitute itssubjectivity or regional focalization in the world (Negarestani, 2012b). This would constitute the Geotraumatic Evacuation of the Voice(GEV): a performative evacuation of the voice as a radical step forward in reductionist music.

The GEV, intended to be a groundwork which begins inimprovisation, aims to promote the self-inductance of a subjective depersonalization,producing sounds through verbal expression. This would be a process that begins at the levelof awareness and a distantiation from our thoughts, as material for experimentation. I.e.:forcing a Readers Perspective of our thinking, not as inseparable activity of the correlationbetween reality and our mind, but in direct connection with the proposed structures in eachcontext. This would be a process of thinking from a physical body connected through ournervous system to physical reality, and establishing a distantiation to keep the gap betweenconcepts and objects; an understanding of our inner as a function of the outside.

GEV AND BWO: DETERRITORIALIZATION OF THE VOICE

We can find similarities between GEV and the Deleuze andGuattaris Body without organs (BwO).5

Deleuze introduces the concept of BwO in his work inLogique du sens(1969), borrowing the term from the Artauds radio play: To Have Done Wh the Judgementof God (1947). Man is sick claims Artaud in the play because he is badly constructed. Thevoice for him is the channel for the representation of corporeal dramas, the body that producesand expels secretions. For Artaud, abject corporeality is a site of possible insurrection. In the recording we can hear: screams, growls, roars, thewhole collection of sounds and nonsense words that make up the Artauds glossolalia.

It provides a connection between artistic practice andpsychiatric diagnosis and treatment. For Deleuze and Guattari, the body without organs is a set ofpractices outlining the disappearance of the body: drawing on backgrounds such asthe Nietzschean will to power and substance of Spinoza, Deleuze and Guattari set out

in the concept of the BwO a de-personalized unconscious, desire in its purest formdevoid of coding, the general (and not solely individual) unconscious. Deleuze and Guattari propose self-experimentation to enable ourvirtual potencies. These potencies are activated by conjunctions with other organisms. In its most concrete form the BwO is what Deleuze and Guattaricall a plane of consistency or plane of immanence.6In this regard, the earth itselfis a BwO in which all experience is expressed.

5 The term BwO is described

in detail by Deleuze and Guattari in

LAnti-dipe(1972) andMille Pla-

teaux(1980).

6 Deleuze & Guattari clarify, in

the formidable What Is Philosophy?

(1991) that the plane of immanence

is not a concept, or the concept of all

concepts, is not a thought or thinkable

concept, but the image of thought,

the image that gives itself of what it is

meant to think.


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est le canal par lequel se reprsentent les drames corporels, le corps qui produitet expulse ses scrtions. Labjecte corporalit qui est pour Artaud le lieu mmeo mener linsurrection.

Dans la pice, on entend des cris, des grognements, desrugissements, toute la palette de sons et de mots dpourvus de sens qui formentla glossolalie dArtaud. Le diagnostic et le traitement psychiatrique ne sont passans lien avec la pratique artistique.

Pour Deleuze et Guattari, le corps sans organes est un en-semble de pratiques deffacement du corps. En sappuyant sur des prcdentscomme la volont de pouvoir nietzschenne et la substance spinoziste, ils situentdans le CsO un inconscient non personnalis, dsir ltat pur sans codification,inconscient gnral et non uniquement individuel.

Deleuze et Guattari nous proposent dexprimenter surnous-mmes pour rvler nos forces virtuelles, forces qui sactivent travers laconjonction avec dautres organismes.

Sous sa forme la plus concrte, cette exprimentation doitsuivre selon les auteurs un plan de consistance ou plan dimmanence 5. Ence sens, la terre mme est un CsO dans lequel toute exprience est exprime.

Le troisime plateau de Mille Plateau x (1980) souvre sur

une allusion au professeur Challenger (personnage central dune srie de romansde science-fiction de Sir Arthur Conan Doyle). Les auteurs le font parler desstrates et des relations entre elles :

Il expliqua que la Terre la Dterrorialise, la Glaciaire , la Molculegante tait un corps sans organes. Ce corps sans organes tait traversde matires instables non formes, de flux en tous sens, dintenss libresou de singulars nomades, de particules folles ou transoires. Mais lntait pas la question pour le moment. Car, en mme temps, se produisasur la terre un phnomne trs important, invable, bnfique certainsgards, regrettable beaucoup dautres : la stratification. Les strates taientdes Couches, des Ceintures. Elles consistaient former des matires, emprisonner des intensits ou fixer des singularits dans des systmes

de rsonance et de redondance, constuer des molcules plus ou moinsgrandes sur le corps de la terre, et faire entrer ces molcules dans desensembles molaires. Les strates taient des captures, elles taient commedes trous noirs ou des occlusions sefforant de retenir tout ce qui passa leur porte. Elles opraient par codage et terrorialisation sur la terre,elles procdaient simultanment par code et par terrorial. (Deleuze &Guattari, 1980 : 53-54)

5 Comme Deleuze et Guattari

lexpliquent dans leur uvre majeure

Quest-ce que la philosophie ? (1991), le

plan dimmanence nest pas un concept,

ni le concept de tous les concepts, ce nest

pas un concept pens ni pensable, mais

limage de la pense, limage quelle se

donne de ce que signifie penser.

The third plateau ofMille Plateaux (1980), opens with an allusionto George Edward Challenger, better known as Professor Challenger, (a fictional andcentral character in a series of science fiction stories written by Sir Arthur Conan Doyle),called upon to speak by Deleuze and Guattari about the strata and their relationships:

He explained that the Earththe Deterrorialized, the Glacial, the giantMoleculeis a body whout organs. This body whout organs is permeatedby unformed, unstable matters, by flows in all directions, by free intensiesor nomadic singularies, by mad or transory particles. That, however, wasnot the question at hand. For there simultaneously occurs upon the earth avery important, inevable phenomenon that is beneficial in many respectsand unfortunate in many others: stratification. Strata are Layers, Belts.They consist of giving form to matters, of imprisoning intensies or lockingsingularies into systems of resonance and redundancy, of producing uponthe body of the earth molecules large and small and organizing them intomolar aggregates. Strata are acts of capture, they are like black holes orocclusions striving to seize whatever comes whin their reach. They operateby coding and terrorialisation upon the earth; they proceed simultaneouslyby code and by terrorialy. (Deleuze & Guatari, 2004: 45)

For Deleuze & Guattari the BwO of maximumdeterritorialization7is Earth, located between any stratum and the space or meansby which all the agencements invariably must pass.

In 1977 Deleuze in his Vincennes lessons spent time in hisclasses speaking of music, and of the Deterritorialized voice8 establishing thatone of the problems of voice in music is to go beyond gender difference, with itscharacteristic vocal sonorities. Experimental music with vocal content should (in linewith what Deleuze proposes) assume a return to the primitive state of androgyny,going beyond sexual difference, a Deterritorialized voice agencied over itself,overcoming the body and subjectivity.

Mental voice. The voice produced by the GEV is a completely

deterritorialized voice, a voice from the base of the lungs, at the limit at which we candrag and expel to the outside traumatic cuts.

In thinking through the development of a GEV, it is necessaryto know that the BwO is opposed to three stratums or modes of organization: The

7 Beyond the loss of territory,

Beyond the loss of territory, De-

leuze & Guattari use the deterri-

torialization to describe the work-

force release of the specific means

of production.

8 This class, the questions raised

by the students and the interesting

talk with Richard Pinhas took place

on 08/03/1977. Along with the other

classes, the transcripts are avai-

lable for download at http://www.

webdeleuze.com/ [consulted on the

04/26/2012]


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Pour eux, le CsO le plus dterritorialis6 est la Terreelle-mme, il est dans toutes les strates, cest lespace o le moyen par lequel toutagencement doit invitablement passer.

En 1977, Deleuze consacre une partie de son cours deVincennes la musique, la voix dterritorialise 7. Il explique que le problmede la voix en musique, cest de dpasser la diffrence des sexes et leurs sonori-ts vocales particulires. Pour suivre ce que propose Deleuze, la musique exp-

rimentale contenu vocal devrait viser un retour ltat dandrogynie primitive,dpasser la diffrence des sexes. Voix dterritorialise : agence sur elle-mme,

dpassant le corps et la subjectivit.

Voix mentale. La voix produite par lGV est une voix entire-ment dterritorialise, une voix limite, venue du fond des poumons, qui arrache etexpulse les blessures traumatiques.

6 Au-del de la perte de terri-

toire, Deleuze et Guattari utilisent

le terme de dterritorialisation

pour dsigner la libration de la

force de travail de modes de produc-

tion spcifiques.

7 Le cours en question, les

questions poses par les tudiants

et lintressante conversation avec

Richard Pinhas ont eu lieu le 8

mars 1977. Sa transcription est dis-

ponible, avec celle des autres cours,

sur http://www.webdeleuze.com/

[consult le 26 avril 2012]

first stratum is the organism or body; the second is signification, representationsor values; and the final stratum (which will be useful in a critical praxis of the GEV)is that of subjectivation.

Deleuze & Guattari propose experimentation: the productionof the unconscious rather than the interpretation of it (the typical procedure ofpsychoanalysis, against which they assail violently).

An approach based on an ethical-aesthetical relationship withthe body in schizoanalytic experimentationunderstanding schizoanalysis as the study of

social subjectivity production, seems sadly doomed to commit past mistakes in its artisticmanifestations, again placing the artistwith their passions, feelings, experiencesas asubjectivity around which everything rotates. To individualize oneself based on what can beexperienced as a subject seems a failure in the attempt to achieve a self-multiplicity. It may be a legacy of Artauds BwO (within the context of dramaticart), but the fact is that the vast majority of performances that seek to invoke the BwOobviate the possibility of an event of thought that does not belong to the subject, insteadproducing a weak reading of the of Marseilles writers irrationality. Again we are facedwith a catharsis with which to redeem the spectators Lower passions. Presented as anarcissistic rather than resonant trauma, this can only be understood as a catharsis thatrefers back to itself, and to the rejection of the multiplicities that constitute us.

gauche | left : Mller,

Johannes, ber die

Compensation der physischen

Krfte am menschlichen

Stimmorgan- Mit Bemerkungen

ber die Stimme der

Sugethiere, Vgel und

Amphibien(1839).

droite | Extrait du film

de Jean Rouch, Les Matres

fous(1955). | Film frame

of Les Matres fous(The Mad

Masters 1955) short film

directed by Jean Rouch.


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Pour dvelopper une GV, il faut savoir que le CsO soppose trois strates ou modes dorganisation : la premire est lorganisme ou corps ; la deu-xime la signification, les reprsentations, les valeurs ; et la troisime (celle qui noussera la plus utile pour une ralisation critique de lGV) est la subjectivation.

Deleuze et Guattari proposent cette exprimentation : pro-duire linconscient au lieu de linterprter procd propre la psychanalyse, laquelle ils sattaquent violemment.

Dans ses manifestations artistiques cependant, le projet dunerelation thico-esthtique au corps travers lexprimentation schizo-analytique (laschizo-analyse tant comprise comme ltude de la production de subjectivit sociale)parat tristement vou reproduire les erreurs du pass, refaire de lartiste (avecses passions, ses sensations, ses expriences) une subjectivit autour de laquelle toutgravite. Ceux qui sefforcent datteindre un je-multiplicit semblent tomber dansle mme pige : sindividualiser pour sexprimenter comme sujet.

Cest peut-tre un hritage du CsO dArtaud (dans le contexte delart dramatique), mais il est clair que la grande majorit des performances qui tententdinvoquer le CsO ferment la possibilit dune pense nappartenant pas au sujet.Elles ressemblent plutt une mauvaise lecture de lirrationalit du pote marseillais.

Revoil la catharsis, par laquelle le spectateur peut racheter ses viles passions et quiprsente le traumatisme non comme rsonant, mais comme narcissique. Cest le retourdu soi , de la non-acceptation des multiplicits qui nous constituent. Dans la tche qui consiste rexaminer le potentiel duCsO comme ventuelle fondation de lGV, lexprimentation psychologique etcorporelle propose par Deleuze et Guattari doit sen tenir (comme les auteurslexigent de la psychanalyse) lanalyse de linconscient individualisateur etsuivre le principe de lobtention dune vision externe, vision qui contemple lamdiation laquelle nous sommes exposs travers les objets. Sans cela, nousrisquons de rester prisonniers de la nature concrte du CsO, de faire barrage ce quil y a de conceptuel dans son nonciation. Le CsO comme lieu limite delexprience et de la politique de la sensation. Le je-multiplicit auquel ren-voient Deleuze et Guattari, on y accde en se faisant individu, mais au travers

du CsO, dont le point de dpart ontologique est la diffrence . Le CsO prtendrtablir, en se ralisant, une immanence absolue. Mais son utilisation pour lGVrisque daboutir une contradiction, puisqu travers le CsO Deleuze trace lescaractristiques dune thologie de la sensation. Pour viter toute crmoniequi ramnerait lattention sur nos sensations, sur lexprience subjective, ilnous faut atteindre une pense non rflchie, une pense qui ne gnre par dereflet dans la subjectivit. La notion de vision-en-Un propose par Franois Laruellepeut nous y aider.

In the task of reviewing the potential of the BwO as apossible basis for the GEV, and just as they demand of psychoanalysis, thepsychological and body experimentation given by Deleuze & Guattari shouldbe limited in the interpretation of the unconscious that individualizes us, andsubordinated to the principle of obtaining an external view that contemplatesthe mediation to which we are exposed through objects. Otherwise we remainprisoners of their practical nature and ignoring the conceptual of its utterance.Contemplating the BwO as limit place of the experience and Policy of the sense.The self-multiplicity referred to by Deleuze & Guattari emerges from the modeof individuation, accessed by becoming a BwO and which starts ontologicallyin the difference. The reality of a BwO is intended to restore an absoluteimmanence. But as a tool for GEV, this falls into contradiction when we thinkabout the manner in which Deleuze, (through BwO) defines the characteristicsof an ethology of sensation. To avoid this being a ceremony in which we attemptto re-conquer our attention of our sensations, of our subjective experience, weneed a concept by which we can obtain an unreflective thought, one that doesnot generate a reflexive position on subjectivity.

This notion may be found in the Franois Laruelles notion:Vision-in-One.

EVACUATION OF THE REAL9

The radical critique of Laruelle can be effective as a toolin the fight against the reintroduction of the subjectivity of the artist in hi s work;expelling attention outside the territory of individual sensations. Laruelle understands radical critique as a search foran instance of reality more real and immanent than the Difference or theOther (which are core concepts of contemporary philosophy), 10 and in thisregard Laruelle founds this instance in the one or what he calls Vision-in-One(ViO). This is understood by Laruelle, in a sense as non-philosophical, giventhat these terms do not refer to the concepts of ontology and / or traditionalmetaphysics.

Primary concept of non-philosophy, equivalent wh One-in-One or the Real.What determines the theory of in-the-last-instance and the pragmatics of

9 The title of this point is an

appropriation of section 5.6 of: Some-

thing Banned - Brassier and Laruelle

(Nihil Unbound - Chapter V, part I)

written by Daniel Sacilotto and avai-

lable here: http://bebereignis.blogs-

pot.com.es/2010/02/something-

banned-brassier-and-laruelle.html

[consulted on the 04/26/2012]

10 It is not my intention to

attempt to go too far in this text in

developing the complex principles

set out by Laruelle, so I would like

to clarify that he examines Diffe-

rence as exemplified in the works

of Nietzsche and Deleuze (inter-

preted by Laruelle as thinkers affi-

liated with anti-realist thinking)

and the conjunction of difference

and finitude found in the work of

Heidegger and Derrida, in his work

Philosophies of Difference: A Cri-

tical Introduction to Non-Philoso-

phy, [trans. by R. Gangle], London:

Continuum, 2008.


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VACUATION DU REL8

La critique radicale de Laruelle peut savrer utile pour lut-ter contre la rintroduction de la subjectivit de lartiste dans luvre, pour arracherlattention au territoire des sensations individuelles. Laruelle entend par critique radicale la recherche dune ralitplus relle et plus immanente que la diffrence ou que l autre (notions centrales de laphilosophie contemporaine9), et trouve cette ralit dans l Un ou dans ce quil appelle la vision-en-Un . Laruelle conoit cette notion en un sens et avec des moyens non philoso-phiques, sans recourir aux concepts de lontologie et/ou de la mtaphysique traditionnelle.

Nom premier de la non-philosophie, lgal dUn-en-Un ou deRel. Ce qui dtermine en-dernire-instance la thorie et la pragmatiquede la pense-monde ( philosophie). La vision-en-Un est radicalementimmanente et universelle. Ce pourquoi elle donne-sans-donation ladonation de la pense-monde. (Laruelle, 1998 : 202-203)

Le terme Un-en-Un ou vision-en-Un indique labsence de toute oprationcapable de le dfinir ; sa non-inscription dans un espace oprationnel ou dansune structure plus puissante ; son immanence en soi et non par rapport autre

chose ; la simplic nue de ce qui ne connat jamais ni excs ni dfaut, puisquilest la seule mesure requise, mais mesure qui nest jamais mesure de soi, qui nemesure rien puisquil ny a rien mesurer. (Laruelle, 2003 : 176)

Daprs Laruelle, Deleuze et les autres philosophes de la diff-rence ont modifi limage de la pense et invent une nouvelle relation entre la penseet son objet. Dans lexprience des philosophies de la diffrence , la pense cessedtre ce qui dcrit un objet dj donn (par exemple : ladquation du dsir et de lagir,du dire et de lobjet, etc.) pour devenir ce qui dcouvre lobjet, ou le manifeste dans l a

posteriori de son exercice, de son projet ou de sa dcision. Penser, donc, cest dpasserou transcender absolument la donne objective ou en soi pour rvler la face opaque,impensable de lobjet. Ce rel opaque conditionne la pense autant quil lpouse.

Laruelle souligne que les dconstructions jouent un double jeu :

elles renoncent lautoposition, lautolgitimation de la transcendance, sa perfor-mativit, mais elles accentuent aussi la priorit que la philosophie a toujours donne la transcendance sur limmanence.

the Thought-World (philosophy). The vision-in-one is radically immanent anduniversal;is the given-whout-givenness of the givenness of the Thought-World. (Laruelle, 1998: 202-3)

The expression One-in-One or vision-in-One indicates the absence of anyoperation that would define the latter; the fact that is not inscribed whinan operational space or more powerful structure; s immanence in self

rather than to anything else; s naked simplicy as never eher exceedingor lacking, because is the only measure required, but one that is never aself-measurement, one that measures nothing so long as there is nothing tomeasure. (Laruelle, 2003: 176)

Accordingly, Laruelle, Deleuze and other philosophersof Difference have changed the image of thought, inventing a new relationbetween thought and its object. That is, from the perspective of philosophiesof Difference, thought should no longer be considered as describing analready given object (e.g. adequacy between saying from doing, saying fromthe object, etc.); but rather is should be considered that which discoversthe object, that which is subsequently manifested in its exercise, project ordecision. Thinking is, then, to exceed or transcend (in an absolute mode) the

given objective or the in-itself, it is to reveal the dull or unthinkable side of theobject. This dull real determines and encloses thought. Laruelle states that topractice deconstructions is a double game: in that doing so renounces the self-positing, the self-legitimation of transcendence and its performativity, insteademphasizing the priority that philosophy has always given to transcendenceover immanence.

Therefore, according to Laruelle consists in moving beyond thebeing and the other, to reach a performativity henceforth immanent or radical,absolutely non-autopositional: the ViO may be understood as that performativitywith the essence of the real.

Brassier in conversation with Mattin, points about the possiblerelationship between ViO and non idiomatic improvisation:

I think the key thing to emphasize would be the potential consonancebetween vision-in-One and non idiomatic improvisation, as a fusionof theory that abjures ready-made theoretical forms borrowed fromphilosophy and/or the social sciences (theoretical-aesthetic bricolageindulged in by artists shopping for a handy theory), and a practicethat abjures generic aesthetic idioms, not only those pertaining tomusical genre, but also those have accreted around the practice of freeimprovisation and turned into another genre. (Brassier & Mat tin, 2012)

8 Titre repris du chapitre 5.6

dun texte dont je recommande la

lecture, Something Banned - Bras-

sier and Laruelle (Nihil Unbound

chapitre V, premire partie), crit

par Daniel Sacilotto et disponible

ici : http://bebereignis.blogspot.

com.es/2010/02/something-ban-

ned-brassier-and-laruelle.html

[consult le 26 avril 2012].

9 Je ne prtends pas dvelop-

per ici les principes complexes ta-

blis par Laruelle, mais je prciserai

quil se penche sur la diffrence

telle quon la trouve dans les tra-

vaux de Nietzsche et de Deleuze

(philosophes quil considre comme

affilis la pense antiraliste) et

sur la conjonction diffrence-fini-

tude dans luvre de Heidegger et

de Derrida. Voir LARUELLE, F. (1986)

Les philosophies de la diffrence.

Introduction critique, Paris : PUF.

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Par consquent, il convient selon lui de se dplacer au-delde l tre et de l autre , dadopter dornavant une performativit immanenteou radicale, absolument non-autopositionnelle : la vision-en-Un peut se comprendrecomme cette performativit dessence relle .

Dans une conversation avec Mattin, Ray Brassier explique,concernant les liens possibles entre la vision-en-Un et limprovisation non idiomatique :

Je pense que llment cl souligner serala consonance potentielle entre lavision-en-Un et limprovisation non idiomatique, comme fusion entre une thoriequi abjure les formes thoriques toutes faes empruntes la philosophie et/ouaux sciences sociales (bricolage thorico-esthtique pratiqu par des artistes la recherche dune thorie commode) et une pratique qui abjure les idiomesesthtiques gnriques, non seulement ceux lis aux genres musicaux, maisaussi ceux qui se sont cristalliss autour de la pratique de limprovisation libre eten ont fa son tour un genre (Brassier, 2012).

REMARQUES FINALES

La constitution et la mise en pratique de lGV sont en marche. Tousles exemples qui ont inspir ce texte paraissent converger vers la ncessit de considrerlvacuation de la voix comme un bruit non-autopositionnel. Mme si lon part dune pensematrialise via les organes qui interviennent dans larticulation du langage, cette pensedevient irrflchie et traverse le sujet sans gards pour sa taxinomie biologique, entrant enrsonance avec chacune des coupures traumatiques dont notre corps, la plante et chacundes objets et lments qui composent notre relation au rel portent les cicatrices.

Anti-Copyright | Merci Mattin, Reza Negarestani, Robin Mackay et Ray Brassier, sources dinspiration et

soutiens inestimables, sans lesquels cet essai naurait pas pu voir le jour.

Traduit de lespagnol par Magali Barbet

Biographie

Miguel Prado, cest lhistoire de la vie dune personne de sa naissance jusqu sa

mort, consignant ses russes, ses checs et tout ce que cette vie peut avoir din-

trt. Sa biographie (du grec , bios, la vie et , grfein, crire ) prend

gnralement la forme dun nonc qui expose, et souvent raconte, la troisime

personne, la vie dun personnage rel de sa naissance jusqu sa mort ou jusquau

moment prsent. Sous sa forme la plus complte, Miguel Prado explique aussi ses

actes en rapport avec le contexte social, culturel et polique de lpoque, cherchant

reconstruire sa pense et sa figure sous forme documentaire. Miguel Prado peut

senregistrer sous forme audio, visuelle ou cre.

FINAL CONSIDERATIONS

The constitution and implementation of the GEV is underway.All examples that have inspired this text seem to converge on the need to contemplatethe evacuation of the voice as a non-autopositional noise. In spite of starting from amaterialized thought through all the organs involved in the articulation of language,this thought becomes unreflective and runs through the subject, ignoring its biologicaltaxonomy, activating the resonance frequencies of each traumatic cuts scarified in ourbody, in the planet and in each of the objects and elements that mediate our relationshipwith the real.

Anti-Copyright | Thanks to Mattin, Reza Negarestani, Robin Mackay and Ray Brassier; sources of inspiration and

invaluable help, without which this paper could not have been carried out. Also, Im very grateful to Barry Esson

for copyedit and proofread the English version of this text.

Biography

Miguel Prado is the story of a persons life told from his birth to his death, detailing

his deeds achieved and failures, and everything of significant interest to the same. His

biography (Greek , bios, life and , grfein, wre) usually takes the form

of a exposory story frequently narrated in the third person of the life of a real person

from birth to death or to the present. In s most complete form, Miguel Prado also

explains his actions according to the social, cultural and polical context of the time

attempting to reconstruct documentarily, his thoughts and figure. Miguel Prado can

be recorded in the form of audio, visual or wr ing.

Mller, Johannes, ber die

Compensation der physischen

Krfte am menschlichen

Stimmorgan- Mit Bemerkungen

ber die Stimme der

Sugethiere, Vgel und

Amphibien(1839).

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transformation du singe en homme, disponible

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(1876), The Part played by Labour in the

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