im a bit eepy, i was planning on making an intro article to rotpolitics this week, it’s about halfway done, but i didn’t work on it today, and now im eepy
[366] Dominique Fernandez, *La rose des Tudors* (Paris: Julliard, 1976) (and the novel *Porporino* [Paris: Grasset, 1974]). Fernandez cites pop music as a timid return to great English vocal music. It would be necessary to take into consideration techniques of circular breathing, in which one sings breathing in as well as out, or of sound filtering using zones of resonance (nose, forehead, cheekbones—a properly musical use of the face).
[367] Marcel More, *Le dieu Mozart et le monde des oiseaux* (Paris: Gallimard, 1971).
[368] As we have seen, imitation can be conceived either as a resemblance of terms culminating in an archetype (series), or as a correspondence of relations constituting a symbolic order (structure); but becoming is not reducible to either of these. The concept of mimesis is not only inadequate, it is radically false.
[369] Francois Truffaut, *Hitchcock(New* York: Simon and Schuster, 1967): “I took the dramatic licence of not having the birds scream at all” (p. 224).
[370] See Ernesto de Martino, *La terredu remords* (Paris: Gallimard, 1966), pp. 142–170. Martino, however, retains an interpretation based on the archetype, imitation, and identification.
[371] Jean Claude *Larouche, Alexis le trotteur* (Montreal: Ed. du Jour, 1971). They quote this account: “He didn’t play music with his mouth like one of us; he had a huge harmonica we couldn’t even play.... When he played with us, he would decide all of a sudden to double us. In other words, he doubled the beat; in the time we played one beat, he played two, which required extraordinary wind” (p. 95).
[372] [TRANS: See Kafka, *The Castle,* trans. Willa and Edwin Muir (New York: Knopf, 1976).]
[374] Andre Tetry, *Les outils chez les etres vivants* (Paris: Gallimard, 1948), the chapter on “musical instruments,” with bibliography. An animal’s movement or labor may make noise, but we speak of a musical instrument whenever animals use apparatuses whose sole function is to produce various sounds (the musical character, to the extent that it is determinable, is quite variable, as is the case with the vocal apparatus of birds; there are veritable virtuosos among insects). From this standpoint, we distinguish: (1) stridulatory apparatuses, of the stringed instrument type: the rubbing of a rigid surface against another surface (insects, crustaceans, spiders, scorpions, pedipalps); (2) percussive apparatuses, of the drum, cymbal, or xylophone type: direct application of muscles to a vibratory membrane (crickets and certain fish). Not only is there an infinite variety of apparatuses and sounds, but the same animal varies its rhythm, tonality, intensity according to still more mysterious urgencies. “It then becomes a song of anger, anxiety, fear, triumph, love. When there is keen excitation, the rhythm of the stridulation varies: in *Crioceris lilii,* the frequency of the rubbing goes from 228 strokes per minute to 550 or more.”
[375] Gisele Brelet, “Musique contemporaine en France,” in *Histoire de la musique,* ed. Roland Manuel, “Pleiade” (Paris: Gallimard, 1977), vol. 2, pp. 1166.
[376] A text by Henry Miller for Varese, *The Air-ConditionedNightmare* (New York: New Directions, 1945), pp. 176–177.
so i;ll just ramble on about random things like i normally do….
[377] Fernand Deligny, *Voix et Voir, Recherches,* no. 8 (April 1975), on the way in which, among autistic children, a “line of drift” deviates from the customary path and begins to “vibrate,” “toss about,” “yaw.”
[378] Paul Klee, *On Modern Art,* trans. Paul Findlay, intro. Herbert Reed (London: Faber, 1966), p. 43 [translation modified to agree with the French version cited by the authors]. See Henri Maldiney’s comments in *Regard, parole, espace* (Lausanne: L’Age d’homme, 1973), pp. 149–151.
[379] On the musical nome, the ethos, and the ground or land, notably in polyphony, see Joseph Samson in *Histoire de la musique,* ed. Roland Manuel (Paris: Gallimard, 1977), vol. 2, pp. 1168–1172. One may also refer to the role in Arab music of the “maqam,” which is both a modal type and a melodic formula: Simon Jargy, *La musique arabe* (Paris: PUF, 1971), pp. 55ff.
[380] Gaston Bachelard, *La dialectique de la dur’ee* (Paris: Bovin, 1936), pp. 128–129. Emphasis added.
[381] Jakob Johann von Uexkiill, *Mondesanimauxet mondehumain* (Paris: Gonthier, 1965).
[382] “Their glorious dress is constant.... The coloring of coral fish is distributed in large, sharply contrasting areas of the body. This is quite different from the color patterns not only of most fresh-water fish but of nearly all less aggressive and less territorial fish.... Like the colors of the coral fish, the song of the nightingale signals from a distance to all members of its species that a territory has found an owner.” Konrad Lorenz, *On Aggression,* trans. Marjorie Kerr Wilson (New York: Harcourt, Brace and World, 1966), pp. 19–20.
[383] Irenaus Eibl-Eibesfeldt, *Ethology,* trans. Erich Klinghammer (New York: Holt, Rinehart and Winston, 1975): on monkeys, p. 487; on rabbits, p. 346; on birds, p. 171: “Zebra finches with colorful plumage maintain a certain distance from one another, while all-white birds of the same species perch much closer together.”
[384] W. H. Thorpe, *Learning and Instinct in Animals* (London: Methuen, 1956), p. 364 (Fig. 2).
[385] Lorenz has a constant tendency to present territoriality as an effect of intraspecific aggression; see *On Agression,* pp. 38–39, 42–43, 53–54, 161–162.
[386] On the aesthetic and vital primacy of “having,” see Gabriel Tarde, *L’opposition universelle* (Paris: Alcan, 1897).
i just saw film “after hours”
[387] Details on Messiaen’s conceptions of bird song, his evaluation of its aesthetic qualities, and his methods for both reproducing it and using it as a material are to be found in Claude Samuel, *Conversations with Olivier Messiaen,* trans. Felix Aprahamian (London: Stainer and Bell, 1976), and in Antoine Golea, *Rencontres avec Olivier Messiaen* (Paris: Julliard, 1961). In particular, on why Messiaen does not use a tape recorder or sonograph as ornithologists usually do, see Samuel, pp. 61–63.
[389] On all of these points, see Claude Samuel, *Conversations,* chapter 4. On the “rhythmic character,” see pp. 36–39.
[390] Pierre Boulez, “Le temps re-cherche,” in *Das Rheingold Programmheft,* vol. 1 (Bayreuth, 1976), pp. 5–15.
[391] [<sub>TRANS</sub>: Proust, *The Captive,* vol. 3 *of Remembrance of Things Past,* trans. C. K. Scott Moncrief, Terence Kilmartin, and Andreas Mayor (New York: Random House, 1981), p. 156. Translation modified.]
[392] On mannerism and chaos, baroque dances, and the relation of schizophrenia to mannerism and dance, see Evelyne Sznycer, “Droit de suite baroque,” in *Schizophrenic et art,* ed. Leo Navratil (Paris: Ed. Complexe, 1978).
[393] Lorenz, *On Aggression,* pp. 39–40. On the three rhythmic personages defined respectively as active, passive, and witness, see Messiaen and Golea, *Rencontres,* pp. 90–91.
[394] [TRANS: Mircea Eliade, *Patterns in Comparative Religion,* trans. Rosemary Sheed (New York: World, 1963), pp. 242–243.]
[395] [TRANS: This “close embrace” of energies recalls Proust’s description of Vinteuil’s little phrase; *The Captive,* p. 262.]
[396] On “the primary intuition of the earth as a religious form” (p. 242), see Eliade, *Patterns in Comparative Religion,* pp. 245ff.; on the center of the territory, see pp. 374ff. Eliade makes it clear that the center is simultaneously outside the territory, very difficult to attain, and inside the territory, within our immediate reach.
[397] Biologists have often made a distinction between two factors of transformation: those of the mutation type, and processes of isolation or separation, which may be genetic, geographical, or even psychical. Territoriality would be a factor of the second type. See Lucien Cuenot, *L’espece*(Paris: G. Doin, 1936).
i really liked it
[398] Paul Geroudet, *Lespassereaux,* 3 vols. (Paris: Delachaux et Niestle, 1951–1957), vol. 2, pp. 88–94.
[399] In *On Aggression,* Lorenz makes a clear distinction between “anonymous flocks” such as schools of fish, which form milieu blocks; “local groups,” where recognition occurs only inside the territory and, at its strongest, between “neighbors”; and finally, societies founded on an autonomous “bond.”
[400] K. Immelmann, *Beitr’age zu einer vergleichenden Biologie australischer Prachtfinken, Zoologische Jahrbucher; Abteilung fur Systematik, Okologie und Geographic de Tiere,* 90 (1962).
[401] Eibl-Eibesfeldt, *Ethology,* p. 225: “Carrying nesting material for nest building evolved into the male courtship actions using grass stems. This was again secondarily reduced in some species and became rudimentary, while at the same time the song, which originally served the function of staking out a territory, also underwent a change in function. These animals are gregarious and are not really territorial. Instead of courting with grass stems, these males sing softly while sitting next to the females.” Eibl-Eibesfeldt, however, interprets the grass-stem behavior as a vestige.
[402] See *L’Odyss’ee sous-marine de I’equipe Cousteau,* film no. 36, *La marche des langoustes* (L. R. A.), commentary by Cousteau-Diole: spiny lobsters along the northern coast of the Yucatan Peninsula sometimes leave their territories. They assemble, at first in small groups, before the first winter storm, and before any sign detectable by human instruments. When the storm comes, they form long march processions, in single file, with a leader that is periodically relieved and a rearguard (the speed of the march is five-eighths of a mile per hour, for sixty miles or more). This migration does not seem to be associated with egg laying, which does not take place until six months later. Hernnkind, a lobster specialist, hypothesizes that this is a “vestige” from the last ice age (more than 10,000 years ago). Cousteau leans toward a more current interpretation, even mentioning the possibility that it is a premonition of a new ice age. The factual issue is that in this exceptional case the lobsters’ territorial assemblage opens onto a social assemblage, and that this social assemblage is connected to cosmic forces, or, as Cousteau says, “pulsations of the earth.” But “the enigma remains entirely unsolved,” all the more so because this lobster procession occasions a slaughter by fishermen, and also because lobsters cannot be tagged since they shed their shells.
[403] The best book of nursery rhymes, and on nursery rhymes, seems to be *Les complines de langue francaise,* with the commentary by editors Jean Beaucomot, Franck Guibat, et al. (Paris: Seghers, 1970). The territorial character of nursery rhymes appears in such privileged examples as “Pimpanicaille,” two distinct versions of which exist in Gruyeres on “the two sides of the street” (pp. 27–28); but it is a nursery rhyme in the strict sense only when there is a distribution of specialized roles in a game, and the formation of an autonomous game assemblage that reorganizes the territory.
[404] Nikolaas Tinbergen, *The Study of Instinct* (Oxford: The Clarendon Press, 1969).
[405] On the one hand, the experiments of W. R. Hess have shown that there is not a cerebral center but instead points that are concentrated in one zone and disseminated in another, and are capable of inciting the same effect; conversely, the effect may change according to the duration and intensity of the excitation of a point. On the other hand, E. von Hoist’s experiments on “deafferented” fish demonstrate the importance of central nervous coordination in fin rhythms; Tinbergen’s schema takes these interactions into account only secondarily. The hypothesis of a “population of oscillators” or a “pack of oscillating molecules” forming systems of articulation from the inside, independent of any common measure, is most compelling in view of the problem of circadian rhythms. See A. Reinberg, “La chronobiologie,” *Sciences,* vol. 1(1970); and T. van den Dreissche and A. Reinberg, “Rythmes biologiques,” in *Encyclopedia Universalis,* vol. 14, p. 572: “It does not seem possible to reduce the mechanism of circadian rhythmicity to a simple sequence of elementary processes.”
[406] Jacques Monod, *Chance and Necessity,* trans. Austryn Wainhouse (New York: Vintage, 1972): on indirect interactions and their nonlinear character, pp. 69–71 and 76–77; on corresponding molecules that are least two-headed, pp. 68–69; on the inhibiting or releasing character of these interactions, pp. 63–67. Circadian rhythms also depend on these characteristics (see the chart in the *Encyclopedia Universalis* under “Rhythmes biologiques”).
[407] Eugene Dupreel elaborated a set of original notions, “consistency” (in relation to “precariousness”), “consolidation,” “interval,” “intercalation.” See *Theorie de la consolidation: La cause et I’intervalle* (Brussels: M. Lamertin, 1933); *La consistance et la probabilite objective* (Brussels: Academie Royale de Belgique, 1961); *Esquisse d’une philosophic des valeurs* (Paris: Alcan, 1939); Bachelard, in *La dialectique de la dur’ee,* draws on Dupreel.
yeah im a bit tireddddddddddddddddddddddddddd
[408] [TRANS: *The Diary of Virginia Woolf* ed. Anne Olivier Bell (London: Hogarth Press, 1980), vol. 3, p. 209.]
[409] On the song of the chaffinch, and the distinction between the “subsong” and “full song,” see Thorpe, *Learning and Instinct,* pp. 420–426.
[410] Alexander James Marshall, *Bower-Birds* (Oxford: The Clarendon Press, 1954).
[411] Thorpe, *Learning and Instinct,* p. 426. In this respect, songs present an entirely different problem than calls, which are often not very differentiated, and quite similar from species to species.
[412] Raymond Ruyer, *La genesedes formes vivantes* (Paris: Flammarion, 1958), chapter 7.
[413] In particular, on widow birds *(Viduinae),* parasitic birds whose territorial song is species-specific and whose courtship song is learned from their adoptive host, see J. Nicolai, *Der Brutparasitismus der Viduinae, Z. Tierps.,* vol. 21 (1964).
[414] The participation of a black hole in an assemblage appears in numerous examples of inhibition, or fascination-ecstasy, notably in the peacock: “The male peacock spreads his tail feathers.... Then he bends the spread-out tail forward and points downward with his beak, while his head is still upright. As a result, the female runs in front of him and pecks in a searching manner on the ground in the focal point of the concave mirrorlike shape of the fanned tail. The male peacock points, so to speak, with his fanned-out tail toward imaginary food,” Eibl-Eibesfeldt, *Ethology,* p. 116. But the peacock’s focal point is no more imaginary than the finch’s grass stem is a vestige or symbol; it is an assemblage converter, the passage to a courtship assemblage, in this instance, effected by a black hole.
[416] Francow *Meyer, Problematique de revolution* (Paris: PUF, 1954).
[418] Female birds, which do not normally sing, start singing when they are administered male sex hormones, “and they will sing the song of the species on which they have become imprinted.” Eibl-Eibesfeldt, *Ethology,* p. 265.
[419] [TRANS: Klee, *On Modern Art,* p. 43. Translation modified to agree with the French translation cited by the authors.]
yeah im eepy
[421] See *Renaissance, manierisme, baroque, Actes du Xle stage international de Tours* (Paris: Vrin, 1972), part 1, “Periodizations.”
[422] Proust, *Swann’s Way,* in vol. 1 *of Remembrance of Things Past,* p. 382 [translation modified—Trans.].
[423] See the ambiguous role of the friend at the end of *Das Lied von der Erde.* Or Eichen-dorff s poem in Schumann’s lied, *Zwielicht (in* Opus 39): “If you have a friend in this world, do not trust him at this hour, for even if he is kind in eye and mouth, he dreams of war in deceitful peace.” (On the problem of the One-Alone, or “solitary Being,” in German romanticism, see Holderlin, “Le cours et la destination de l’homme en general,” trans. Emmanuel Marineau, *Poesie,* no. 4 <verbatim>[1978],</verbatim> pp. 6–22.)
[424] “The people in Mussorgsky’s *Boris* do not form a true crowd; at times one group sings, then another, and then a third, each in turn, and most often in unison. As for the people in *Maitres chanteurs,* it is not a crowd but an army that is powerfully organized in the German manner and marches in rows. What I would like is something sparser, more divided, more relaxed, more impalpable, something in appearance inorganic and yet at bottom ordered.” Quoted by Jean Barraque, *Debussy* (Paris: Seuil, 1977), p. 159. This problem—how to do a crowd—obviously recurs in other arts also, painting, cinema, etc. One may refer in particular to the films of Eisenstein, which proceed by this type of very special group individuation.
[425] On the relations between the cry, the voice, the instrument, and music as “theater,” see Berio’s statements introducing his records. One will recall the eminently musical Nietzschean theme of a multiple cry of all superior men, at the end of *Thus Spoke Zarathustra.*
[426] On Bartok’s chromaticism, see Gisele Brelet’s study in *Histoire de la musique,* vol. 2, pp. 1036–1072.
[427] In his book on Debussy, Barraque analyzes the “dialogue of the wind and the sea” in terms offerees instead of themes: pp. 153–154. See Messiaen’s statements on his own works: sounds are no longer anything more “than vulgar means of expression intended to make durations measurable.”
[428] Odile Vivier describes Varese’s procedures for treating sound matter, in *Varese* (Paris: Seuil, 1973): the use of pure sounds acting as a prism (p. 36); mechanisms of projection onto a plane (pp. 45 and 50); non-octave-forming scales (p. 75); the “ionization” procedure (pp. 98ff.); the theme of sound *molecules,* the transformations of which are determined by forces or energies *(passim).*
[429] See the interview with Stockhausen on the role of synthesizers and the effectively “cosmic” dimension of music, in *Le Monde,* July 21,1977: “Work with very limited materials and integrate the universe into them through a continuous variation.” Richard Pinhas has written an excellent analysis of the possibilities of synthesizers in this regard, in relation to pop music: “Input, Output,” *in Atem,* no. 10 (1977).
[430] The definition of fuzzy aggregates brings up all kinds of problems because one cannot appeal to a local determination: “The set of all objects on this table” is obviously not a fuzzy set. Mathematicians concerned with the question speak only of “fuzzy subsets” because the reference set must always be an ordinary set. See Arnold Kaufmann, *Introduction to the Theory of Fuzzy Subsets,* foreword L. A. Zadeh, trans. D. L. Swanson (New York: Academic Press, 1975), and Hourya Sinacoeur, “Logique et mathematique du flou,” *Critique,* no. 372 (May 1978), pp. 512–525. In considering fuzziness as the characteristic of certain sets, our point of departure was a functional, as opposed to a local, definition: sets of heterogeneous elements that have a territorial, or rather territorializing, function. But this is a nominal definitiion that does not take “what happened” into account. The real definition can come only at the level of processes affecting the fuzzy set; a set is fuzzy if its elements belong to it only by virtue of specific operations of consistency and consolidation, which themselves follow a special logic.
eepyy gang eepy gang
[431] Paul Klee, *On Modern Art,* p. 53: “The legend of the childishness of my drawing must have originated from those linear compositions of mine in which I tried to combine a concrete image, say that of a man, with the pure representation of the linear element. Had I wished to present man ‘as he is,’ then I should have had to use such a bewildering confusion of lines that pure elementary representation would have been out of the question. The result would have been vagueness beyond recognition.”
[432] Paul Virilio, *L’insecurite du territoire* (Paris: Stock, 1975), p. 49. Henry Miller develops this theme in *The Time of the Assassins. A Study ofRimbaud*(Norfolk, Conn.: J. Laughlin, 1956), and in the text he wrote for Varese, “Lost! Saved!” *(The Air-Conditioned Nightmare* [New York: New Directions, 1945]). It is undoubtedly Miller who has taken the modern figure of the writer as cosmic artisan the farthest, particularly in *Sexus.*
[433] On the relation of colors to sound, see Messiaen and Samuel, *Conversations,* pp. 15–17. Messiaen faults drug users for oversimplifying the relation, which they make into a relation between a noise and a color, instead of isolating complexes of sounds-durations and complexes of colors.
[434] On the crystal, or the crystalline type, added and subtracted values, retrograde motion, see also Messiaen’s texts in Samuel, *Conversations,* and those of Paul Klee in his diary, *The Diaries of Paul Klee, 1898–1918,* ed. and intro. Felix Klee (Berkeley: University of California Press, 1964).
[435] See Roland-Manuel’s article, “L’evolution de l’harmonie en France et le renouveau de 1880” (pp. 867–879), and the article by Delage on Chabrier (pp. 831–840), in *Histoire de la musique,* vol. 2. And especially, Brelet’s article on Bartok: “Are not the difficulties learned music experiences in utilizing popular music due to this antinomy between melody and theme? Popular music is melody, in its fullest sense, melody persuading us that it is self-sufficient and is in fact synonymous with music itself. How could it not refuse to bend to the learned development of a musical work pursuing its own ends? Many symphonies inspired by folklore are only symphonies *about* a popular theme, to which the learned development remains alien and exterior. The popular melody could never constitute a true theme; and that is why, in popular music, the melody is the entire work, and why once it is over it has no other resource than to repeat itself. But can’t the melody transform itself into a theme? Bartok solves this problem, which was thought insoluble” (p. 1056).
[436] Marcel More, *Ledieu Mozart etlemondedesoiseaux*(Paris: Gallimard, 1971), p. 168. And, on the crystal, pp. 83–89.
[437] See Alban Berg’s famous analysis of “Reverie” in *Ecrits* (Paris: Ed. du Rocher, 1957), pp. 44–64. 12.1227: Treatise on Nomadology—the War Machine
[438] Georges Dumezil, *Mitra-Varuna* (Paris: Gallimard, 1948 [forthcoming in English translation from Zone Books]). On *nexum* and *mutuum,* the bond and the contract, see pp. 118–124.
[439] “The first pole of the State (Varuna, Uranus, Romulus) operates by magic bond, seizure, or immediate capture: it does not wage battles, and has no war machine, it binds, and that is all.” Its other pole (Mitra, Zeus, Numa) appropriates an army but imposes upon it juridical and institutional rules that become nothing more than a piece in the State apparatus: thus Mars-Tiwaz is not a warrior god, but a god who is a “jurist of war.” See Dumezil, *Mitra-Varuna,* pp. 113ff., 148ff., 202ff.
[440] Dumezil, *The Destiny of the Warrior,* trans. Alf Hiltebeital (Chicago: University of Chicaga Press, 1970).
gn
[441] For the role of the warrior as one who “unties” and opposes both the magic bond and the juridical contract, see Dumezil, *Mitra-Varuna,* pp. 124–132. See also the analysis *of furor* in the works of Dumezil.
[442] [TRANS: The first quote is from Friedrich Nietzsche, *The Genealogy of Morals,* second essay, sect. 17, trans. Walter Kaufmann and R. J. Hollingdale (New York: Vintage, 1967), p. 86; the second is from Franz Kafka, “An Old Manuscript,” *The Complete Stories,* ed. Nahum N. Glazer (New York: Schocken, 1983), p. 416.]
[443] Luc de Heusch emphasizes the public nature of Nkongolo’s actions, in contrast to the secrecy of the actions of Mbidi and his son; in particular, the former eats in public, whereas the others hide during their meals. Later, we will see the essential relation of the war machine with the secret, which is as much a matter of principle as a result: espionage, strategy, diplomacy. Commentators have often underlined this link. *Le roi ivre ou I’origine de I’Etat* (Paris: Gallimard, 1972).
[444] For an analysis of the three sins in the cases of the Indian god Indra, the Scandinavian hero Starcatherus, and the Greek god Hercules, see Dumezil, *Mythe et epopee,* vol. 2, pp. 17–19 (Paris: Gallimard, 1971). See also Dumezil, *The Destiny of the Warrior.*
[445] Dumezil, *Mitra-Varuna,* p. 13 5. Dumezil analyzes the dangers and causes of the confusion, which could be due to economic variables. See pp. 153, 159.
[447] On Ajax and the tragedy of Sophocles, see the analysis of Jean Starobinski, *Trois Fureurs* (Paris: Gallimard, 1974). Starobinski explicitly raises the question of war and the State.
[448] These themes are analyzed by Mathieu Carriere in an as yet unpublished study of Kleist.
[449] Pierre Clastres, *Society against the State,* trans. Robert Hurley (New York: Uri-zen, 1977), and “Archeologie de la violence: la guerre dans les societes primitives” and “Malheur du guerrier sauvage” in *Recherches d’anthropologie politique* (Paris: Seuil, 1980), pp. 171 -208, 209–248. In the last text, Clastres depicts the destiny of the warrior in primitive society and analyzes the mechanism that prevents the concentration of power (in the same way that Mauss demonstrated that the potlatch was a mechanism preventing the concentration of wealth).
[450] Jacques Meunier, *Les gaminsde Bogota* (Paris: Lattes, 1977), p. 159 (“blackmail for dispersion”) and p. 17 7: if necessary, “it is the other street children who, by means of a complicated interplay of humiliations and silence, get the idea across that he must leave the gang.” Meunier emphasizes the degree to which the fate of the ex-gang member is jeopardized: not only for health reasons, but because he finds it hard to integrate himself into the criminal underworld, a society too hierarchical, too centralized, too centered on organs of power for him to fit into (p. 178). On child gangs, see also the novel by Jorge Amado, *Capitaes de areia* (Sao Paolo: Livraria Martins, 1944).
[451] See I. S. Bernstein, “La dominance sociale chez les primates” in *La Recherche,* no. 91 (July 1978).
rot.pol.now
[452] Clastres, *Society against the State,* p. 169: “The emergence of the State brought about the great typological division between Savage and Civilized man; it created the unbridgeable gulf whereby everything was changed, for, on the other side, Time became History.” In order to account for this emergence, Clastres cites first a demographic factor (“but there is no question of replacing an economic determinism with a demographic determinism”; p. 180), then the possibility of a warring machine (?) running amok; he also cites, more unexpectedly, the indirect role of a certain mode *of prophetic speech,* which, directed first against the “chiefs,” produces a formidable new kind of power. But one obviously cannot prejudge more elaborated solutions Clastres might have found for this problem. On the possible role of prophetic speech, refer to Helene Clastres, *La terre sans mal, le prophetisme tupi-guarani* (Paris: Editions du Seuil, 1975).
[453] Michel Serres, *La naissance de la physique dans le texte de Lucrece. Fleuves et turbulences* (Paris: Minuit, 1977). Serres was the first to make the first three points given in the text; the fourth seems to follow from them.
[454] [TRANS: According to Serres, the *clinamen,* or declination of the atom, is the “minimal angle leading to the formation of a vortex, and appears by chance in a laminar flow” *(La naissance de la physique,* p. 14). The *clinamen* is the angle between a curve and its tangent, or “the smallest [angle] one can make, preventing anything from coming between the two lines which form it.... In other words, the angle appears at the same time as curvature” (p. 18). “The *clinamen* is a differential” (p. 11).]
[455] [TRANS: A flow is laminar when, “no matter how small we make the layers (or lamellae) into which we divide the flow, they remain strictly parallel to one another in their movements”; Serres, ibid., p. 12.]
[456] [TRANS: *Turba* “designates a multitude, a large population, confusion and tumult.” *Turbo* “is a round form in movement... a revolving cone or vortical spiral.” “The origin of things and the beginning of order consists simply in the subtle passage from *turba* to *turbo”;* Serres, ibid., pp. 38–39.]
[457] This is the distinction Pierre Boulez makes between two kinds of space-time in music: in striated space, the measure can be irregular or regular, but it is always assignable; in smooth space, the partition, or break, “can be effected at will.” *Boulez on Music Today,* trans. Susan Bradshaw and Richard Bennett (Cambridge, Mass.: Harvard University Press, 1971), p. 85.
[458] Greek geometry is thoroughly marked by the opposition between these two poles, the theorematic and problematic, and by the relative triumph of the former: in his *Commentary of the First Book of Euclid’s Elements,* trans, and intro. Glenn R. Murrow (Princeton, N.J.: Princeton University Press, 1970), Proclus analyzes the difference between the poles, taking the Speusippus-Menaechmus opposition as an example. Mathematics has always been marked by this tension also; for example, the axiomatic element has confronted a problematic, “intuitionist,” or “constructivist” current emphasizing a calculus of problems very different from axiomatics, or any theorematic approach. See Georges Bouligand, *Le d’eclin des absolus mathematico-logiques* (Paris: Ed. d’Enseignement Superieur, 1949).
[459] Paul Virilio, *L’insecurite du territoire* (Paris: Stock, 1975), p. 120: “We know that the youth of geometry, geometry as free, creative investigation, came to an end with Archimedes.... The sword of a Roman soldier cut the thread, tradition says. In killing geometrical creation, the Roman State lay the foundation for the geometrical imperialism of the West.”
[460] With Monge, and especially Poncelet, the limits of sensible, or even spatial, representation (striated space) are indeed surpassed, but less in the direction of a symbolic power *(puissance)* of abstraction than toward a transspatial imagination, or a transintuition (continuity). See Leon Brunschvicg’s commentary on Poncelet, *Les etapes de la philosophic mathematique* (Paris: PUF, 1947).
[461] Michel Serres *(La naissance de la physique,* pp. 105–107) analyzes the opposition d’Alembert-Bernoulli from this point of view. More generally, what is at issue is the difference between two models of space: “In the Mediterranean basin there is a shortage of water, and he who harnesses water rules. Hence that world of physics in which the conduit is essential, and the *clinamen* seems like freedom because it is precisely a turbulence that rejects forced flow. Incomprehensible to scientific theory, incomprehensible to the master of the waters.... Hence the great figure of Archimedes: the master of floating bodies and military machines” (p. 106).
rachel
[462] See Ben veniste, “The Notion of Rhythm in Its Linguistic Expression” in *Problems in General Linguistics,* trans. Mary Elizabeth Meek (Coral Gables, Fla.: University of Miami Press, 1971), pp. 281–288. This text, often considered decisive, seems ambiguous to us because it invokes Democritus and atomism without dealing with the hydraulic question, and because it treats rhythm as a “secondary specialization” of the form of the body (p. 286).
[463] Anne Querrien, *Devenir fonctionnaire ou le travail de I’Etat* (Paris: Cerfi). We have drawn from this book, as well as from unpublished studies by Anne Querrien.
[464] See Raoul Vergez, *Les illumines de I’art royal. Huit siecles de compagnonnages* (Paris: Julliard, 1976), p. 54. [TRANS: In the present context, *trait* refers to the cutting line followed by the artisan and to the working sketch of the construction under way. Vergez gives the following definition: “The Trait is a kind of graphic poem derived from geometry, which indicates the building plan in sketches drawn with precision on the ground, showing sections, elevations and all other projections, the three dimensions of a volume”; p. 86.]
[465] Gerard Desargues, *Oeuvres* (Paris: Leiber, 1864). See also the text by Michel Chasles *[Apercu historique sur I’origine et le developpement de methodes en geometrie...* (Brussels: M. Hayez, 1837)—Trans.], which establishes a continuity between Desargues, Monge, and Poncelet as the “founders of a modern geometry.”
[466] Anne Querrien, *Devenir fonctionnaire,* pp. 26–27: “Is the State founded upon the collapse of experimentation?... The State is not under construction, its construction sites must be short-lived. An installation is made to function, not to be socially constructed: from this point of view, the State involves in the construction only those who are paid to implement or command, and who are obliged to follow the model of a preestablished experimentation.”
[467] On the question of the “Colbert lobby,” see Daniel Dessert and Jean-Louis Journet, “Le Lobby Colbert. Un royaume, ou une affaire de famille?” *Annates,* 30, no. 6 (November-December 1975), pp. 1303–1336.
[468] See Ibn Khaldun, *The Muqaddimah: An Introduction to History,* trans. Franz Rosenthal (Princeton, N J.: Princeton University Press, 1967). One of the essential themes of this masterpiece is the sociological problem of the esprit de corps, and its ambiguity. Ibn Khaldun contrasts bedouinism (the bedouin life-style, not the ethnic group) with sedentarity or city living. The first aspect of this opposition is the inverted relation between the public and the secret: not only is there a secrecy of the bedouin war machine, as opposed to the publicity of the State city dweller, but in the first case “eminence” is based on a secret solidarity, while in the second case the secret is subordinated to the demands of social eminence. Second, bedouinism brings into play both a great purity and a great mobility of the lineages and their genealogy, whereas city life makes for lineages that are very impure, and at the same time rigid and fixed: Solidarity has a different meaning at either pole. Third, and this is the main point, bedouin lineages mobilize an esprit de corps and integrate into it, as a new dimension: this is *asablyah,* or *ikhtilat,* from which the Arabic word for socialism is derived (Ibn Khaldun stresses the absence of any “power” residing in the tribal chief, who has no State constraints at his disposal). On the other hand, in city living the esprit de corps becomes a dimension of power and is adapted for “autocracy.”
[469] The principal texts of Husserl are *Ideas,* trans. W. R. Gibson (New York: Humanities Press, 1976), part 1, sec. 74, and *Edmund Husserl’s Origin of Geometry: An Introduction,* trans. John P. Leavey, Jr., ed. David B. Allison (Stoney Brook, N.Y.: N. Hayes, 1978) (with Derrida’s very important commentary, pp. 118–132). On the issue of a vague yet rigorous science, we may refer to the formula of Michel Serres, in his commentary on the geometrical figure called the *salinon:* “It is rigorous, anexact. And not precise, exact or inexact. Only a metrics is exact” *(Naissance de la physique,* p. 29). Gaston Bachelard’s book *Essai sur la connaissance approch’ee* (Paris: Vrin, 1927) remains the best study of the steps and procedures constituting a rigor of the anexact, and of their creative role in science.
[470] Gilbert Simondon has contributed much to the analysis and critique of the hylo-morphic schema and of its social presuppositions (“form corresponds to what the man in command has thought to himself, and must express in a positive manner when he gives his orders: form is thus of the order of the expressible”). To the form-matter schema, Simondon opposes a dynamic schema, that of matter endowed with singularities-forces, or the energetic conditions at the basis of a system. The result is an entirely different conception of the relations between science and technology. See *L’individu et sa genese physico-biologique* (Paris: PUF, 1964).
[471] In *Timaeus,* 28–29, Plato entertains for an instant the thought that Becoming is not simply the inevitable characteristic of copies or reproductions, but could itself be a model rivaling the Identical and the Uniform. He states this hypothesis only in order to reject it; for it is true that if becoming is a model, not only must the duality of the model and the copy, of the model and reproduction, disappear, but the very notions of model and reproduction tend to lose all meaning, [TRANS: Deleuze develops this point in “Plato and the Simulacrum,” trans. Rosalind Krauss, *October,* 27 (Winter 1983), pp. 45–56. See especially p. 53.]
[472] [TRANS: Friedrich Nietzsche, *The Will to Power,* trans. Walter Kaufmann (New York: Vintage, 1968), sec. 630(1885), p. 336.]
[473] The situation is in fact more complex than that, and gravity is not the only feature of the dominant model: there is heat in addition to gravity (already in chemistry, combustion is coupled with weight). Even so, the problem was to know to what extent the “thermal field” deviated from gravitational space, or on the contrary was integrated with it. Monge is a typical example; he began by grouping heat, light, and electricity as “variable affections of bodies,” the concern of “specific physics,” while general physics would deal with extension, gravity, and movement. It was only later that Monge unified all of the fields under general physics (Anne Querrien).
[475] Carlos Castaneda, *The Teachings of Don Juan* (Berkeley: University of California Press, 1971), p. 88.
[476] Albert Lautman has shown quite clearly how Riemann spaces, for example, admit a Euclidean conjunction making it possible at all times to define the parallelism of two neighboring vectors; this being the case, instead of exploring a multiplicity by legwork, the multiplicity is treated as though “immersed in a Euclidean space with a sufficient number of dimensions.” See *Les sch’emas de structure* (Paris: Hermann, 1938), pp. 23–24, 43–47.
[477] In Bergson, the relations between intuition and intelligence are very complex, and they are in perpetual interaction. Bouligand’s theme is also relevant here: the dualism of the two mathematical elements, the “problem” and the “global synthesis,” is developed only when they enter a field of interaction in which the global synthesis defines the “categories” without which the problem would have no general solution. See *Le d’eclin des absolus math’ematico-logiques.*
[478] Marcel Detienne, in *Les maitres de v’erit’e dans la Grece archdique* (Paris: Maspero, 1973), clearly articulates these two poles of thought, which correspond to the two aspects of sovereignty according to Dumezil: the magico-religious speech of the despot or of the “old man of the sea,” and the dialogue-speech of the city. Not only are the principal character types of Greek thought (the Poet, the Physicist, the Philosopher, the Sophist, etc.) situated in relation to these poles, but Detienne interposes between the two poles a distinct group, the Warriors, which brings about transition or evolution.
[479] There exists a Hegelianism of the right that lives on in official political philosophy and weds the destiny of thought to the State. Alexandre Kojeve (“Tyranny and Wisdom,” in Leo Strauss, *On Tyranny* [New York: Free Press of Glencoe, 1963]) and Eric Weil *(Hegel et I’Etat. Philosophiepolitique* [Paris: Vrin, 1974]) are its recent representatives. From Hegel to Max Weber there developed a whole line of reflection on the relation of the modern State to Reason, both as rational-technical and as reasonable-human. If it is objected that this rationality, already present in the archaic imperial State, is the *optimum* of the governors themselves, the Hegelians respond that the rational-reasonable cannot exist without a minimum of participation by everybody. The question, rather, is whether the very form of the rational-reasonable is not extracted from the State, in a way that necessarily makes it right, gives it “reason” *(lui donner necessairement “raison”).*
[480] On the role of the ancient poet as a “functionary of sovereignty,” see Dumezil, *Servius et la Fortune* (Paris: Gallimard, 1943), pp. 64ff., and Detienne, *Les maitres de v’erit’e,* pp. 17ff.
[481] See Michel Foucault’s analysis of Maurice Blanchot and the form of exteriority of thought: “La pensee du dehors,” *Critique,* no. 229 (June 1966), pp. 523–548.
[482] Nietzsche, *Schopenhauer as Educator,* in *Untimely Meditations,* trans. R. J. Hollingdale (Cambridge: Cambridge University Press, 1983), pp. 177–178.