A speciation: a bloc of sensation, another regard's counterpointing

on reading "another regard"

bloc of sensation jumps off the page

bites the neck

becomes a speciation

as a gesturing of counterpoint 

I wanted to intuitively offer 

a way of entering into

the concept

bloc of sensation

to see-feel how these two

speciation -blocs of sensation 

could dance together

blowing thoughts around:

in order to enter into a concept

one has to invent a way of doing it

because there’s modes of thought

that will require to do it differently

what would that different procedure be then?

perhaps a relational map of conceptual flashes

that not necessarily connect

but start building a presence

or an aroundness

a kind of composition of tickling wordings

toward an articulation of something

less clear and more ambiguous

yet truly important

and precise

ambiguity of thought as a political stance

(indiscernibility is more adequate perhaps)

as a way to bring forth other qualities of thought

intensive forces that in-form a felt sensation

rather than a sensical field

a bloc of sensation in the deluzian sense

as a composition of percepts and affects

(Deleuze&Guattari What is Philosophy 164-185)

we’ll come back to that

like this, a more improvisatory (weighting) writing

instead of a proved righting

a weighting in the nietszchean sense

in the sense of feeling fielding the forces at work

in the sense of exercising a valuation

as a productive act

valuation as feeling

feeling in the whiteheadean sense

(Whitehead, Adventure of Ideas, 177-182)

feeling as prehension

in the middle of process

what grabs and absorbs

in the middle of a learning process

involuntarily

there’s other ways of reading

that are not necessarily apt to

produce reviews

yet they produce something else

would it be interesting to witness

that something else production?

a flickering of pages

a forgetful reading

other kinds of notes

notes that produce movements

instead of anchors

movements of repetition

that will come back or not

in the emergence of fields of relation

to trust that these ways of knowing

could also be valid

could also produce different kinds of value

different textural gestural texts?

this way of writing brings the noted notes

in a different way

it pulls them out in-with the movement

of the writing

rather than from an already premade synthesis

the synthesis co-composes in-with the writing

the movement of the writing produces

an activation that makes possible for

past readings to have presence

from a produced necessity

from a relational encounter

from a field of relation

one that does not exist beforehand

but which emerges

as a platform

for articulating

the difficult

gimnastry

of

a

wording

as

a

co-composing

with

experience

Day ·1

the text moves

and a concept jumps

blocs of sensation

encountered it three years ago

didn’t know that it was flickering there

it made an entry

it is (t)here

the story… i go searching:

have to touch

with my hands and nose

every single notebook

piled on the notebook’s shelf

was not there

found three notebooks

in a different pile

they were singled out

any other day

i don’t remember

it is (t)here

“blocs of sensation”

“a sort of definition of what deleuze calls sensation”

(notes from class on Francis Bacon: The Logic of  Sensation 2012).

i go reading chapters 7, no, chapter 6 and 12

on painting and sensation and the diagram

on painting and sensation

there’s levels of sensation but no blocs of sensation

this phrase calls my interest though

a whisper:

i feel i need to be reading chapter 8

on painting forces

but first let’s keep close to this opening

what about sensation?

something becoming in the sensation

 and something happening through the sensation

and

“i experience the sensation

only by entering the painting

by reaching the unity of

the sensing and the sensed”

(35)

an interject:

reminds me of

whithead’s objects and subjects

and how there’s no subjects on one side

who perceive or know objects

how the ‘composition of experience’

is not a knower-known relationship

with objects and subjects

on two opposite sides

an entering into focusing:

what i’m trying to do

is to find a way

to articulate

a body-space relationality

in which there’s no body on one side

and space on the other

but that there’s a process

where space is lived

in a different way than

by a separation from it

there’s a difficulty in articulating this

it is all about articulating that

and building at the same time

a way to articulate it

like what i’m just doing right here

interject:

reminds me of this phrase:

whisper:

need to pay my bills

continuation of the interject:

a method is needed, and this varies with every artist and forms part of the work

(D&G What is Philosophy 167)

(D&G ¿Qué es la Filosofía? 168)

this phrase

 emphasises how each creation will need

to create its own ways

here called “methods”

which I prefer calling techniques

this is exactly what I’m trying to do just here

and it also brings forth this:

a vast plane of composition that is not abstractly preconceived but constructed as the work progresses, opening, mixing, dismantling (D&G What is Philosophy 188)

(ibid 191)

which is what I call the doubling technique

a compositionality that creates

its tools at the same time as it

creates what it creates

what I always say about

research-creation

is that a research-creation project

invents its own ways

of becoming that project

on the go

as it walks

as it emerges

not before it exists

there’s not a how of research-creation

before it becomes

the how is in the becoming

it finds its how of compositionality

in its becoming

back on painting and sensation

deleuze talks about how

sensation is a way to

make a Figure rather than a figuration

the first one being a mobile composition

while the second one a narrative

more depictional and

representative

of a world out there

“the Figure is the sensible form

related to a sensation;

it acts immediately upon the nervous system,

which is of the flesh”.

(Deleuze, Francis Bacon: The Logic of  Sensation, 34)

in brief

it provokes-creates

a felt sensation

rather than

a visual operation

of an easily recognized

form

in the words of Bacon

“the sensation (the Figure)

is the opposite of the form related to an object that it is supposed to represent (figuration)”.

(ibid 36)

(ibid)

so we are near blocs of sensation

but not yet

we have “levels of sensation”

which means this

sensation that crosses across

different levels of experience

level body

level tissue

level color

order mouth

order sky

level raindrop

not as a raindrop falling into an open mouth

but as a mouth which has

a potential composition of raindrops

a mouth that shares

a raindropy quality

with a tear

i'm just speculating here

a how “. . . to feel a [compositionality]

more immediately real” (39)

this way of co-composing

of making felt the more immediately real

is what deleuze calls the motor hypothesis

what makes sensation cross across

different levels, orders and areas

 

is a motor

that is active

in the movement

that is triggered by a compositionality

of “arrests or snapshots of motion”

a way of recomposing

continuity and speed

 it is not movement per se

what turns the motor on

of the immediately-felt felt

but actually a double character

that deleuze calls “a motion in-place”

a composition of pieces which themselves are

processual compositions

that is at once and at the same time

in movement yet in place

actual and virtual

other two terms that pull this

composition toward other place

to come back to later

we were talking about that

movement in-place

we have that:

(ibid 40-41)

so sensation

is the way

to create a Figure

which is different

from creating

something

in a representative way

a Figure acts directly in the nervous system

also a sensation is what passes

from one level to another

and what makes

sensation pass

from one level to another

is a motor

which itself is made

of a compositionality

of spasmodic

motions in-place

which reveals

“the action of invisible forces

on the body” (ibid 41).

“the movement of [levels of sensation]

 occurs between two spasms,

between the two movements

of a contraction in one place . . .

[this is what deleuze calls:] vital rhythm"(ibid).

the story . . . body movements:

not noticing yet rolling on the floor

donutting the body

a silent thought:

the reading didn’t happened like that

it jumped from chapter 6 to chapter 12 intermittently

remember the reading was looking for “blocs of sensation”

so it went back and forth

back and forth

jumping

cutting

jumping

staying

wanting to go somewhere

else

staying

writing

as a way of reading

on the diagram

i don’t remember anything now

need to go back to the text

without going back to the text

what can i remember?

not much

this text can not

emerge from memory

it is impossible

it needs to emerge

in between

movements of going to the text

and coming to this text

i´m tempted to stop in chapter 8 on painting forces

very tempted

yet i go to 12

I ignore the force that calls strongest

to remain close to

yesterday day · -1.5

as an attempt to hold the movement in-place

 

“the painter is already in the canvas” (99)

the connection-commotion is more than

a there’s-something-there-that-draws-my-attention

there’s already a relationality in germ

bacon does not make sketches

instead,

he makes random marks

line traits of angles and speed

this is the preparatory work

invisible and silent

yet

extremely

intense

these irrational

involuntary traits

are manual traits

body traits

guided by

other forces

not depending

on will or sight

these traits

are traits of sensation

traits of sensation

produce the spasms

that open up way

to sensation

through the Figure

a compositionality

of the felt

where the

invisible and silent

has room to operate

these traits

create

a

diagram

for another world to emerge

“as if a zone from the Sahara

were suddenly inserted in the head”

(ibid 99-101).

 

non-narrative

they are no longer

either

significant

or signifiers:

they are asignifying traits

. . .

traits of sensation” (ibid 100).

“the diagram is thus

the operative set of asignifying

and non-representative

lines

and

zones”

(ibid 101).

the diagram is a germ of rhythm

a compositionality

of spasmodic forces

that unlock areas of sensation

unlocking areas of sensation

toward

the direct sensation

upon the nervous system

through the power of vibration

and nonlocalization (109-110)

according to bacon

the diagram’s function is “to be suggestive”

according to wittgenstein

is “to introduce possibilities of fact”

(ibid 101)

on possibilities of fact see What is Philosophy? p.17

according to me

is to invent other modes

of life living

other modes of learning

other modes of

encountering-living-producing

worlds worlding

we’re now almost arriving

to what pulled out this whole

movement for day 1

blocs of sensation

a traject:

somewhere in between

there’s always

having to go

somewhere

taking the metro

another opening

oliver sack’s enters

a bag

the bag enters

the metro

the bubble glasses of Mr. McGregor

enter the metro’s-seats-faces

they remind me of

relational fields

how these bubble glasses

were an artefact that

activated the relational field

that otherwise would

be inactive by a complex variation

on the capacity of relationality

of the vestibular system

caused by parkinson’s disease.

we’ll come back to that

back on track:

a bloc of sensation is a compositionality

of percepts and affects

“. . . -the thing or the work of art-

is a bloc of sensations,

 that is to say,

 a compound of percepts and affects.”

 

(D&G What is Philosophy 164)

like this

a bloc of sensations

is a compound

a compositionality

a being of sensation

of spasmodic rhythm

that tweaks

itself

through

the traces-traits

of sensation

of

those invisible forces

flickering

form-ing

co-composing-with

becoming

thought

around

a notion

in this case

the notion

of body-space relationality

that asks

what if the body is not a fixed entity

but a process of becoming?

a kind of diagram

a bloc of sensations

contorting

contouring

a body for itself

in direct relation

with space’s

own traces-traits

of continuities and speeds

of random marks and angles

remember that sensation is what is felt immediately

from one order to another

what is felt directly upon the nervous system

a bloc of sensation then

is not a linearity of encountering

of a one with another one

of a body and a space

but a compositionality in-with the encounter

of percepts and affects

of involuntary prehensions

before conscious perceptions

that already affect

a becoming

de-forming

of asignifying traits

incorporeal forces

sensation

what acts immediately upon the nervous system

to experience sensation one has to

enter into the painting

reaching the unity of the sensing and sensed

entering into the world by becoming world

entering into space by becoming space

to experience sensation

sensation

what passes from one order to another

and so is immediately felt

it is immediately prehended

it immediately effectuates

it immediately affects

sensation

what crosses across one level to another

by a motor

activated by

arrests and snapshots of motion

spasms

movments in-place

revealing

the invisible forces on the body

bodily deformations

spasms

as random marks

irrational involuntary traits

that co-compose

a diagram

an operative set of

lines and zones

not guided by will nor sight

but by a vital rhytm

a diagram

as

the operative set of lines and zones

as

the operative set of traits of sensation

in-form a bloc of sensation

a compound of percepts and affects

“percepts are not longer perceptions” (164)

(percepts are graspings and absorbstions

of forces with other forces

percepts are capacities for entering-into relation

capacities for co-composing

not with another

but from with-in

capacities for becoming

<<the world is made of these capacities >>)

“affects are no longer [emotions] or affections

. . . they go beyond the strength of those who undergo them

. . . they could be said to exist in the absence of man

because man itself is a compound of percepts and affects” (ibid)

man itself is a bloc of sensations

the body itself is a bloc of sensations

a-rhythmic compositionality

of invisible forces of bodily de-formation

to experience sensation

one has to enter the painting

the painter is already in the painting

not to put them in the same plane but what if

to experience sensation

the body has to enter space

one is already (in the) space

one is already a compositionality

with the lines and traces

with the traits of sensation

that co-compose space

lines, zones, angles, continuities, trajectories and speeds

one is already a compound of these movements

a bloc of sensations

body-space relationality

 a bloc of sensations

a compositionality of movements in-place