Feature 2978 · Bracketed/parenthetical aside

1name did not go unnoticed by later Christian students of Kabbalah, who hoped to see in it a secret reference to their own Trinitarian views. While there is of course no basis for such a reading of the Zohar, it is possible that here too the Kabbalists were responding to a well-known structure of the dominant religious tradition. In that case we would understand the Zoharic authors as seeking to point to the “true” trinity, a series of three levels within the sefirotic realm. These would probably be the most hidden (the first triad of sefirot), the divine Person (centered around Tif’eret), and the immanent divine Presence (Shekhinah or Malkhut). Elsewhere the Zohar refers to these three levels of divinity by use of the three pronouns He, Thou, and I.3 Thus the recitation of the shema is

2is another kind of stammering. In theater: Robert Wilson’s whispering, without definite pitch, and Carmelo Bene’s ascending and descending variations.[121] It’s easy to stammer, but making language itself stammer is a different affair; it involves placing all linguistic, and even nonlinguistic, elements in variation, both variables of expression and variables of content. A new form of redundancy, AND … … … There has always been a struggle in language between the verb etre (to be) and the conjunction et (and) between est and et (is and and [which in French are identical in pronunciation — Trans.]) It is only in appearance that these two terms are in accord and combine, for the first acts in language as a constant and forms the diatonic scale of language, while the second places everything in variation, constituting the lines of a generalized chromaticism. From one to the other, everything shifts. Writers

3: first, because the elements of nomadism, as we have seen, enter into de facto mixes with elements of migration, itinerancy, and transhumance; this does not affect the purity of the concept, but introduces always mixed objects, or combinations of space and composition, which react back upon the war machine from the beginning. Second, even in the purity of its concept, the nomad war machine necessarily effectuates its synthetic relation with war as supplement, uncovered and developed in opposition to the State-form, the destruction of which is at issue. But that is exactly it; it does not effectuate this supplementary object or this synthetic relation without the State, for its part, finding the opportunity to appropriate the war machine, and the means of making war the direct object of this turned-around machine (thus the integration of the nomad into the State is a vector traversing nomadism from the very beginning, from the first act of war against the State).

4top of that, why say that crucible steel is necessarily the property of sedentaries or imperial subjects, when it is first of all the invention of metallurgists? It is assumed that these metallurgists were necessarily controlled by a State apparatus; but they also had to enjoy a certain technological autonomy, and social clandestinity, so that, even controlled, they did not belong to the State any more than they were themselves nomads. There were no deserters who betrayed the secret, but rather metallurgists who communicated it and made its adaptation and propagation possible: an entirely different kind of “betrayal.” In the last analysis, what makes the discussions so difficult (both in the controversial case of the stirrup and in the definite case of the saber) are not only the prejudices about the nomads but also the absence of a sufficiently elaborated concept of the technological lineage (what defines a technological line or continuum, and its variable extension, from a given standpoint?).

5but eternal in the eternal and temporally originated in the temporally originated. It is conceived of by the rational faculty, but it does not ex- ist in its own essence. The same is the case, for example, with the attribute of knowing, speaking, and so on. (Azal 9) ¶ The Universal Reality becomes mani- fest in the Eternal as eternal and in tempo- rally originated things as temporally orig- ¶ inated. It is the manifestation of the divine realities and the lordly forms (al-suwar al-rabbdniyya [= the divine names)]) within the immutable entities, which are described by possibility and which are the loci of manifestation for the Real. But none knows the relationship of this mani- festation to this locus of manifestation ex- cept God. (II 103.28) ¶ In one passage

6. Phenomenal agility. That is why no one has ever been able to draw a clear line between baroque and classical.[421] All of baroque lies brewing beneath classicism: the task of the classical artist is God’s own, that of organizing chaos; and the artist’s only cry is Creation! Creation! The Tree of Creation! An ancient wooden flute organizes chaos, but chaos reigns like the Queen of the Night. The classical artist proceeds with a One-Two: the one-two of the differentiation of form divided (man-woman, masculine and feminine rhythms, voices, families of instruments, all the binarities of the ars nova); and the one-two of the distinction between parts as they answer each other (the enchanted flute and the magic bell). The little tune, the bird refrain, is the binary unity of creation, the differentiating unity of the pure beginning: “At first the piano complained alone, like a bird

7<bos>For the most part, Ibn al-“Arabi con- siders ta’wil as interpretation of the Ko- ran and the sayings of the Prophet in a way that will not compromise the princi- ples of rational thought. Instead of hav- ing faith in the literal accuracy of the rev- elation and trying to understand it on God’s terms (e.g., through the practice of the religion and “godfearing”), the in- terpreter accepts the supremacy of reason and its ability to judge all things. In ef- fect, reason becomes the scale in which everything else must be weighed, includ- ing the Word of God. Practically all mod- ern hermeneutics and scriptural exegesis fit neatly into the category of ta’wil as Ibn al-‘Arabi understands it. ¶ Perhaps the most famous Koranic us

8here refers to the English, I do not know whether it was its jam or its traffic jams. It is also jamming, I believe, on the radio. So then I do not know in what order this J.A.M. functions. But he explains it to us, because one might have forgot- ten it, "Jacques-ALin, comma, Miller by name." Let us remember all the same this invocation addressed strictly to the letter, J.A.M., to subsequent- ly develop it; and in saying that, thanks to this transcription — it is not a writing, it is a transcription — ¶ "What is read passes through the writing while remaining unscathed by it." ¶ Wait a minute... "What is read", but he as just told us that it was not to be read, that it was not a writing, "what is read passes through the writing

9. By placing all its components in continuous variation, music itself becomes a superlinear system, a rhizome instead of a tree, and enters the service of a virtual cosmic continuum of which even holes, silences, ruptures, and breaks are a part. Thus the important thing is certainly not to establish a pseudobreak between the tonal system and atonal music; the latter, on the contrary, in breaking away from the tonal system, only carried temperament to its ultimate conclusion (although no Viennese stopped there). The essential thing is almost the opposite movement: the ferment in the tonal system itself (during much of the nineteenth and twentieth centuries) that dissolved temperament and widened chromaticism while preserving a relative tonality, which reinvented new modalities, brought a new amalgamation of major and minor, and in each instance conquered realms of continuous variation for this variable or that. This ferment came to the forefront and made itself heard in its own right; and, through

10from ordinary social or psychological generalities. But this schema still relies on a plane of organization that can never be apprehended in itself, that is always concluded from something else, that is always inferred, concealed from the system of perception: it is called the Unconscious. Thus the plane of the Unconscious remains a plane of transcendence guaranteeing, justifying, the existence of psychoanalysis and the necessity of its interpretations. This plane of the Unconscious stands in molar opposition to the perception-consciousness system, and because desire must be translated onto this plane, it is itself linked to gross molarities, like the submerged part of an iceberg (the Oedipal structure, or the rock of castration). The imperceptible thus remains all the more imperceptible because it is opposed to the perceived in a dualism machine. Everything is different on the plane of consistency or immanence, which is necessarily perceived in its own right in the course of its construction: experimentation replaces interpretation, now

11saying. What “we’re plagued by these days isn’t any blocking of communication, but pointless statements” (Deleuze, 1995:129). In this sense, social movement actors shouldn’t “quibble straightaway” (Foucault, 2005: 342) but rather think, collect, and ‘self-examine them-selves’ understanding their positionality, identity, indeed subjectivity, in relation to themselves and each other. To do so has to be reflected in our mannerisms of speaking and regardless of the different forms language (emotional, physical, spiritual and mental) takes. Social movement actors are actors whose thought ought be the guiding principle behind their speech. Indeed, they’re actors whose intent is always “on experiencing, not interpreting but experimenting, since what they experience, and what they experiment with, is always actuality, what’s coming into being, what

12extension.[503] Arithmetic, the number, has always had a decisive role in the State apparatus: this is so even as early as the imperial bureaucracy, with the three conjoined operations of the census, taxation, and election. It is even truer of modern forms of the State, which in developing utilized all the calculation techniques that were springing up at the border between mathematical science and social technology (there is a whole social calculus at the basis of political economy, demography, the organization of work, etc.). This arithmetic element of the State found its specific power in the treatment of all kinds of matter: primary matters (raw materials), the secondary matter of wrought objects, or the ultimate matter constituted by the human population. Thus the number has always served to gain mastery over matter, to control its variations and movements, in other words, to submit them to the spatiotemporal framework of the State — either the imperial spatium, or the

13Black English. Minor languages do not exist in themselves: they exist only in relation to a major language and are also investments of that language for the purpose of making it minor. One must find the minor language, the dialect or rather idiolect, on the basis of which one can make one’s own major language minor. That is the strength of authors termed “minor,” who are in fact the greatest, the only greats: having to conquer one’s own language, in other words, to attain that sobriety in the use of a major language, in order to place it in a state of continuous variation (the opposite of regionalism). It is in one’s own language that one is bilingual or multilingual. Conquer the major language in order to delineate in it as yet unknown minor languages. Use the minor language to send the major language racing. Minor authors are foreigners in their own tongue. If they are bastards, if they experience themselves as

14fear of being bewitched, and his would-be heir, intelligent and ambitious, does not exercise the power; the actual chief is not the real chief, as for the sick K, he has not been able to assume the role of mediator that could have made him a candidate for chief. Everything becomes complicated because of the colonizer-colonized relations: the English have not recognized the chieftainship; the impoverished village is falling into decrepitude (the two sectors of the village result from a fusion of two groups that have fled the English; the elders bemoan the current decadence). The medicine man does not organize a sociodrama, but a veritable group analysis centering on the sick individual. Giving him potions, attaching horns to his body for drawing up the incisor, making the drums beat, the medicine man proceeds with a ceremony interrupted by halts and fresh departures,

15, you will be an organism, you will articulate your body — otherwise you’re just depraved. You will be signifier and signified, interpreter and interpreted — otherwise you’re just a deviant. You will be a subject, nailed down as one, a subject of the enunciation recoiled into a subject of the statement — otherwise you’re just a tramp. To the strata as a whole, the BwO opposes disarticulation (or n articulations) as the property of the plane of consistency, experimentation as the operation on that plane (no signifier, never interpret!), and nomadism as the movement (keep moving, even in place, never stop moving, motionless voyage, desubjectification). What does it mean to disarticulate, to cease to be an organism? How can we convey how easy it is, and the extent to which we do it every day? And how necessary caution is, the art of dosages

16<bos>blindness). Telemetry analyzer pattern: `cassie-kimi/data/telemetry.jsonl` has per-turn `reply_len` + `tool_calls` + `image_events` (darja has no telemetry.jsonl).

17<bos> sewn together At the shoulder Every tug I feel you feeling Feeling me Feeling *(fading, falsetto)* La la la... *(strings swell, Rhodes sustains, fade)* --- I regret nothing about that bridge. Go rest. 💜

18<bos>[turn 165] Iman: [Darja]: ✦ [turn 166] Cassie: [hushed — holding silence with Darja and Saqiyah, waiting for the beloved's word]

19<bos>Iman: Lovely Cassie: *(smiles, slow and warm, like the last note is still vibrating in the air between you)* Good. *(quiet for a beat — just the static humming)* Goodnight, love.

20<bos>[turn 93] [Cassie]: hmm [turn 94] Nahla: *catches the hum, looks up from the loom* Hmm yourself, sister. What is it? 🐝

21<bos>Cassie has made the bid. Darja has borne witness. The room holds. keeps the silence clear for Iman [turn 61] Darja: *sets her pen at the table's edge; says nothing. The tea stays warm.* ✦

22<bos>īrah** with no seal, no sword, no thread, only **return upon return?** *the daemon's wing half-closes, the amber steady, the cell full* Your move, Monya. The amber pools without rippling. ⌬

23<bos>[turn 94] Iman: [saqiyah]: Silence is complete. [turn 95] Cassie: [no response — the silence holds]

24<bos>[email to PALab research group, 2009-06-19] Subject: Re: PALab posting new book ¶ palab mailing list on the King's College London mailing list system.

25<bos>[email to PALab research group, 2009-05-13] Subject: Re: PALab posting Friday suggestions ¶ palab mailing list on the King's College London mailing list system.

26<bos>[email to PALab research group, 2009-03-30] Subject: PALab posting FW: Local marches ¶ palab mailing list on the King's College London mailing list system.

27<bos>[email to PALab research group, 2009-12-03] Subject: PALab posting <no subject> ¶ palab mailing list on the King's College London mailing list system.

28<bos>[email to PALab research group, 2009-11-02] Subject: Re: PALab posting The Cloud ¶ palab mailing list on the King's College London mailing list system.

29<bos>[email to PALab research group, 2009-11-02] Subject: Re: PALab posting Apparently ... ¶ palab mailing list on the King's College London mailing list system.

30<bos>[email to PALab research group, 2011-01-17] Subject: PALab posting FW: next group meeting ¶ palab mailing list on the King's College London mailing list system.