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LEXPRIMENTATION EN QUESTION

EXPERIMENTATION IN QUESTION
FLUX Pauline Nadrigny You Nakai 1ohan uirard Sebasiien Bisei Franois
Bonnei 8 uerard Pele Pierre Eempiinne Samon 1akahashi Sarah Benham 1ames
Whiiehead 1osselin Hinier 1ulien 0iiavi ueorge Brechi INFLUX Branden W.
1oseph uhedalia 1azaries Higuel Prado Casanova 1im Eaynes 1aku Sugimoio
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!" $
FLUX
443
IN
Miguel Prado
VACUATION
GOTRAUMATIQUE
DE LA VOIX
GEOTRAUMATIC
EVACUATION
OF THE VOICE
Extrai du lm de Jean Rouch, Les Matres fous (1955). | Film frame of Les
Matres fous (The Mad Masters 1955) short lm directed by Jean Rouch.
445
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Rsum
Ce texte est une rflexion sur la possibilit denvisager la pense et
le corps humain comme champ dexprimentation dans le contexte
de limprovisation non idiomatique (ou dautres types de musiques
exprimentales). Comme rponse partielle cette question, il expose
les premiers lments dun projet thorique : lvacuation gotrau-
matique de la voix.
partir du concept de gotraumatisme , dvelopp par Nick Land et
Reza Negarestani, en passant par certains concepts de la philosophie
de Deleuze, Guattari et Laruelle, ce texte tente dexplorer la possibilit
dune 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, de
langages etc. du point de vue dun sujet, mais aussi comme subjecti-
vit transcendantale) et aux objets porteurs de notre cognition. Pour
que se lzarde, peut-tre, la dfinition apparemment vidente de
lexprimental (sciences pures ou humaines qualifies dex-
primentales) comme fond sur lexprience subjective, sur ce quon
connat et atteint travers elle.
Pour un outil qui nous permettrait dvacuer les traumatismes, au sens
gophilosophique du terme. Au fil du texte, on tentera de prciser que
le traumatisme ne doit pas tre compris comme quelque chose de vcu,
mais comme une sorte de coupure pratique par le rel ou labsolu dans
son 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 and
the 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 a
speculative program: Te geotraumatic evacuation of the voice.
Starting from the concept of geotrauma developed by Nick Land and
Reza Negarestani and transiting certain concepts of the philosophy
of Deleuze, Guattari and Laruelle, it will seek to investigate the
possibility of performatively evacuating the voice from our body.
This being an exercise in acquiring an outside perspective of our
subjectivity (subjectivity understood not only as the property of
perceptions, judgments, language... from the point of view of the
subject, but also in its notion as transcendental subjectivity) and the
objects that mediate our cognition.
Trying to crack the apparent insolubility of the experimental
thing (science or humanities classified as experimental) as that
which is founded on the subjective experience; what is known and
reaches through it.
A tool through which we can drain traumas in its geophilosophical
understanding. As the text advances we will try to point out that
trauma should be understood not as what is experienced, but as a
form 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 a
regional condensation (Negarestani, 2012a).
Keywords | geotrauma | subjectivity | deterritorialization | deper-
sonalization | body without organs
447
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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 une
modulation 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 exprimentales est riche dexemples o
le corps humain est utilis comme outil principal. Cependant, il a presque toujours t
employ ( la faon dun instrument de musique traditionnel) pour projeter une srie
de dcisions esthtiques orientes vers lauto-affection et/ou laffection collective
1
.
Depuis Charlotte Moorman jouant dun violoncelle de glace
coll son corps dnud jusqu Justice Yeldham lchant, mordant, recrachant des
morceaux de vitre amplifis, le corps humain semble occuper une position dlicate
dans les musiques exprimentales.
Dans le contexte de la performance, on rencontre toujours un
ou plusieurs corps : le public, lartiste, les techniciens, etc. Mais quand le corps humain
devient matire performance, il sert le plus souvent reprsenter visuellement une
sensation 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 rintroduire
lartiste dans la relation de pouvoir inhrente la situation, de relgitimer la vision
individuelle, la perspective subjective.
Le corps exprime la situation sociale un moment donn et y apporte
en mme temps une contribution particulire. Inviablement donc, puisquil
transmet les structures sociales en prsence, le corps accompli un travail
de communication : il devient une image de lensemble de la siuation sociale
perue, 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 invitablement
tourne vers le processus de verbalisation de ces penses.
Les exemples de cet art du text-sound sont innombrables.
On peut y distinguer grosso modo deux types dartistes : certains utilisent lappareil
phonatoire comme instrument, lexprience tire du son abstrait constituant le
Necessiy created the organ; the undeveloped larynx of the ape was slowly
but surely transformed by modulation to produce constantly more developed
modulation, and the organs of the mouth gradually learned to pronounce one
articulate sound afer another. (Engels, 1876)
EXPERIMENTATION AND BODY
In the history of experimental music, the human body has
been used on numerous occasions as a primary tool. Despite this, it has been used
mostly in order to project (as if it were a conventional musical instrument) a set of
aesthetic decisions directed at the self and / or collective affectation.
1
From Charlotte Moorman accompanied by a cello built of ice
stuck to her naked body, to Justice Yeldham sucking, biting and spitting against
pieces of amplified broken glass, the human body seems to play a delicate role in
experimental 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 body
is incorporated as material for performance, this element usually acts as a visual
representation 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 a
way to reintroduce the artist in to the power relationships of the situation in itself: to
reintroduce and re-legitimize the individual vision, the subjective perspective.
The body is expressing both the social siuation at a given moment, and also
a particular contribution to that siuation. Ineviably, then, since the body is
mediating the relevant social structures, i does the work of communicating by
becoming an image of the total social siuation as perceived, and the acceptable
tender in the exchanges which constiute i. (Douglas, 1979: 168)
Keeping to one side the production of sounds through
instruments, 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 and
whose principal means of coherence lies in the experience of abstract sounda good
example 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.
449
FLUX IN
principal facteur de cohrence (la chanteuse de Japanoise Junko en serait un bon
exemple) ; dautres produisent des mots audibles plus ou moins coups de leur sens,
dans lintention directe de transmettre une information smantique. Cest le cas de la
clbre uvre dAlvin Lucier I Am Sitting In a Room :
[...] Je considre cette activi non tant comme la dmonstration dun fai
physique, mais plutt comme une faon de lisser les irrgularis que mon
nonc pourrai avoir. (Lucier, 1969)
Ce que suggre Lucier en purant ainsi son lger bgaiement
( travers le processus connu : enregistrement de son nonc, reproduction, nouvel
enregistrement, etc.) dpasse le jeu de rtroalimentation, de lente dsintgration
de sa voix intelligible, remplace par des sons et des frquences sous-jacentes aux
bgaiements et dtermines par larchitecture et lacoustique de la salle. En se diluant
dans 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 ici
lartiste travaille sur quelque chose dont le sens est jusqu un certain point trs spcifique
et 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 espace
transitionnel pour dsigner une phase intermdiaire de dveloppement situe entre
ralit psychique et ralit extrieure. Cest dans cet espace quon rencontre l objet
transitionnel , utilis pour offrir un rconfort psychologique.
Si on veut rechercher un point de vue extrieur, il est important
dliminer ces objets intermdiaires, objets enracins dans de confus processus
dauto-identification, qui donnent lillusion dune fausse matrialit
2
.
Linformation verbalise suppose une dcision, issue dun
processus 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 quil
nouvre la possibilit dun rsultat musical inconnu. Ses proprits affermissent lex-
prience, lloignent des terrains instables.
[...] jouer du monocorde ntai rien de plus, rien de moins quune vrication
passive dides dj xes, de la ttractys mtaphysique. Ctai une manire
dagir fonde sur des penses prtablies . (Mazzola, 2002 : 33)
artists, who produce audible words more or less divorced from their meanings, with
the direct intention of conveying semantic information. Such is the case of the well-
known work of Alvin Lucier: I Am Siting In A Room (1969).
[...] I regard this activiy not so much as a demonstration of a physical fact,
but, more as a way to smooth out any irregulariies my speech might have.
(Lucier, 1969)
What Lucier suggests with this purification of his slight
stuttering (in the recording process of his speech, playback, and its recording again,
etc.), exceeds the game of feedback and gradual disintegration of his intelligible
voice, 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 the
resonant space, also refers to the decomposition of the interpreters subjectivity.
Examples like this are particularly interesting because they
concern something with a very specific meaning, the material condition for which arise
ultimately in ourselves (our organs, our vocal apparatus), and not in any other device
for the production of sounds (the most obvious case being musical instruments).
This device works for the improviser, artist or musician as a
transitional object. D.W. Winnicott developed this term to describe an intermediate
stage of development between psychic
reality and external reality. In this transitional space
psychological comfort can be provided by finding such a transitional object.
In the process of searching for an external point of view it is
important to remove these mediation objects; Objects rooted in confusing processes
of self-identification, which become a fallacy of misplaced concreteness.
2
As the product of a mental/ cognitive process, verbalized
information requires a decision just as it also requires a mental object.
It is not possible to sustain an experimental study without
iteratively altering that studys base assumptions. In the artistic context, the
instrument as a transitional object does not introduce a variable or provide a
possible unknown outcome in music. Its properties as a stable source of security
entrench the experience, distancing it from unstable ground.
[...] playing the monochord was nothing more and nothing less than a passive
verication of already xed ideas, in fact the metaphysical tetractys. It was a kind
of 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
lillusionde 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.
451
FLUX IN
En partant du principe que linstrument de musique (matriel,
extrieur, objectif) se prtait bien aux expriences musicales, on a sous-estim tout
un 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, les
expriences consistent interroger un tmoin passif. La nature est passive
et rpond aux questions de faon objective, cest--dire indpendamment
de la personnali de linterrogateur. Ces deux caractristiques passivi,
objectivi de la rponse ont t depuis reconnues comme des
idalisations errones. Les expriences physiques sont essentiellement des
processus interactifs, comme lont montr les principes dincertiude et de
complmentari en mcanique quantique.
Mais la nature physique est aussi ractive un niveau plus conceptuel.
Chaque rponse une exprience peut modier la posiion thorique et les
concepts lorigine de lexprience. [...]
Quelle est la difrence entre nature extrieure et nature intrieure ? Elle repose
sur une proprit vidente quoique non fondamentale des phnomnes
naturels extrieurs : leur autonomie. Cependant, au second regard, on dcle
une nature intrieure en particulier dans des univers fabriqus par lhomme,
comme les mathmatiques et la musique qui nest pas moins complexe et
incontrlable que la nature extrieure. (Mazzola, 2002 : 32)
GOTRAUMATISME ET VACUATION GOTRAUMATIQUE
DE LA VOIX
Le bruit solaire, ce hurlement dions, cette libration dune smiotique
cosmique quelles abominations peut-il inspirer ? (Negarestani, 2008 : 149)

La perte de linstrument pour lartiste, et donc lobligation
daffronter directement les objets mentaux et leur verbalisation (sans se rfugier
dans des objets matriels transitionnels) nous renvoie aux diffrents organes qui
interviennent dans larticulation du langage : lappareil phonatoire humain comme
haut-parleur, mais aussi comme dversoir.
lcoute du disque de Mattin Object of Thought (2010), on
songe quil fonctionne comme une radiographie des flux des penses. Dans cette
uvre, Mattin sefforce dobjectiver ses penses sur le vinyle en superposant des
strates 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 tradiional opinion condivided by Immanuel Kant , experiments
are understood as interrogations of a passive winess. Nature is passive and will
answer to the hearing in an objective way, i.e. independently of the interrogators
subject. These two characteristics, passiviy and objective response, have
since been recognized as erroneous idealizations. Physical experiments are
substantially interactive processes, this was evidenced by uncertainty and
complementariy principles of quantum mechanics.
But physical nature is also responsive on a more conceptual level. Each response
to an experiment may alter the theoretical posiion and the concepts which
drive the experiments. [...]
So, what is the diference between exterior and interior nature? It relies on
the more apparent, though not fundamental, autonomy of exterior natural
phenomena. But a second view reveals an inner natureespecially on the level
of man-made universes such as mathematics and musicwhich is not less
complex and uncontrollable than exterior nature. (Mazzola, 2002: 32)
GEOTRAUMATISM AND GEOTRAUMATIC EVACUATION
OF THE VOICE
What kind of abomination can be inspired by a cacodemonic music such as that
known as the Solar Rattle, a music which unleashes a cosmic-semiotics in is
ionized howl? (Negarestani, 2008: 149)
The loss of the instrument for the artist and therefore; the fact
that the artist now needs to deal with the mental objects and their verbalization as
material for their work (without shelter in transitional material objects), takes us
back 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 Tought
(2010), we can think of how it works as an X-ray of thoughts flux. In this work Mattin
tries 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 free
the voice of his body. It seems to evoke the humour of slapstick comedy, inviting us to
think of a cartoon in which hes waving his body in order to escape a mousetrap.
These vowels, which sound contained on the recordas if
emanating from a drainage catheterled me to think about the relationship may be
453
FLUX IN
Ces sons vocaux circulant sur le disque comme dans une sonde
de drainage mont amen rflchir aux relations qui pourraient se nouer entre lva-
cuation performative de la voix et la thorie du gotraumatisme (fonde sur les
divers accidents survenus dans lvolution des hommes et de la plante).
Pour citer Reza Negarestani :
La thorie gocosmique du traumatisme plaide pour une rhabiliation
traumatique de lhorizon terrestre. Essentiellement, cest une forme extrme
de la biologie spculative de Freud dans Au-del du principe de plaisir,
poussant jusquau bout les ramications post-coperniciennes du coup inig
par Freud au sanctuaire intime de lHomme cest--dire son exprience
prtendument axiomatique de la rgionali et de lintgri. Chaque rgion
de la Terre (du terrain crbral aux scnes terrioriales, 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 dun
traumatisme, au sens que lui donnent Freud et Ferenczi. Le caractre la
fois diachronique et extrieur du traumatisme pour lexprience intrieure
et la conception axiomatique de la rgionali sont alors explors travers
divers modes de tension-synthse ( la fois locale et mondiale) et travers
une relation non axiomatique avec la source du traumatisme, qui est ouverte
(ou inaccessible, et en vri, sans fond). (Negarestani, 2011
3
)
Rsoudre les tensions en rtablissant ltre vivant (organique)
dans son tat antrieur (inorganique) est un acte porteur de mort. Le traumatisme
rside 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 une
tude gophilosophique des accidents dadaptation qua connus lespce humaine.
Darwin et les gologues avaient dj tabli que toute la surface de la terre
et tout ce qui sy mouvai tai un fossile vivant, une banque de mmoire
rigoureusement dpose depuis des milliards et des milliards dannes
et ferme lintrospection ; malaxe et retraie par sa propre matire, mais
horrible lire si le code est dcrypt, elle dploie ses rcis paralllement
ceux voqus par Freud deux histoires dhumiliation entremles.
(Mackay, 2012 : 16)
La thorie dite du singe aquatique (Morgan, 1997) offre
un exemple daccident dadaptation dans lvolution. Selon cette thorie, les
hommes auraient eu pour anctres des primates aquatiques ou semi-aquatiques
established between a performative evacuation of the voice and the geotraumatism
theory (at the same time followed by the various accidents given in hominid and
planetary evolution).
In the words of Reza Negarestani:
Geocosmic theory of trauma argues for a traumatic rehabiliation of the
terrestrial horizon. Basically, i is a terminal form of Freuds speculative
biology presented in Beyond the Pleasure Principle that takes the post-
Copernican ramications of Freuds blow to Mans inner sanctuarynamely,
is purported axiomatic experience of regionaliy and integriyto extremes.
Every region of the Earth (from the cerebral sie to terriorial, socio-
cultural, biological and evolutionary locales to the supposedly integral body
of the earth iself) is explained in terms of traces or sies of trauma in is
Freudian or Ferenczian sense. The diachroniciy and exterioriy of trauma to
experience or an axiomatic conception of regionaliy are then investigated
through various modes of tension, synthesis (both local and global) and
non-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 the
fact that the organism just wants to die (return to the inorganic): it is here that the
traumatic cuts and consequent tensions are rooted.
The geophilosophical review of the set of accidents resulting from poor human
adaptation in evolution, establishes the basis of a geotraumatic reading of evolution.
Darwin and the geologists had already established that the entire surface of the
earth and everything that crawls upon i is a living fossil record, a memory bank
rigorously laid down over unimaginable aeons and sealed against introspection;
churned and reprocessed through is own material, but a horrifying read when
the encryption is broken, is tales would unfold in parallel wih Freuds, like two
intertwining themes of humiliation. (Mackay, 2012: 16)
An example of maladaptation accidents in evolution can
be seen in the Aquatic Ape Hypothesis, (Morgan, 1997) according to which the
ancestors of humans might have been aquatic or semi-aquatic primates in a shallow
water 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 the
development of bipedalism in an aquatic environment, where the mass endured is
much 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
recommandenouveaulalecturede(Ne-
garestani, 2012a) et de (Mackay, 2012).
3
For a rigorous approach to the
geotraumatism theory wed again
recommend (Negarestani, 2012a) and
(Mackay, 2012).
455
FLUX IN
Dessin de Alexander Graham
Bell (1892). | Drawing by
Alexander Graham Bell (1892).
457
FLUX IN
vivant sur la cte africaine dans un environnement deaux peu profondes (issues
de la tectonique des plaques). La thorie se fonde entre autres sur les arguments
suivants : les problmes de dos et de colonne vertbrale pourraient sexpliquer
par le fait que la bipdie se serait dveloppe dans un milieu aquatique, o le
poids porter est beaucoup plus faible, favorisant du mme coup un alignement
horizontal de la colonne avec les jambes. La matrise consciente de la respiration
chez les humains est similaire celle des mammifres aquatiques ; lacquisition
de la parole par lhomme naurait pas t possible sil navait eu conscience de
sa propre respiration. Si les autres primates ne parlent pas, cest parce quil leur
est physiologiquement impossible de retenir volontairement leur respiration. La
gamme de sons que les tres humains sont capables de produire est le rsultat
de la descente du larynx ; les seuls autres animaux connus prsenter cette
caractristique 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 dans
les 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 ; et
cest la perspective dlaborer des modes de dcodage de phnomnes
culturels qui chappent au signiant. Bipdie, station debout, vision
frontale, verticalisation de la face, constriction de la voix par le larynx,
autant dindices dune succession de catastrophes traumatiques
qui sparent les potentialis matrielles du corps de son actuali
stratie. Tout comme la tte du bipde entrave la linari vertbro-
perceptuelle, le larynx humain inhibe la parole virtuelle. On ne peut
dfaire le visage sans vacuer aussi la voix.
Du fai de la station debout, la tte a subi une rotation, brisant la
linari vertbro-perceptuelle et crant les condiions phylogntiques
qui allaient donner naissance au visage. Cette disposition oro-
pneumatique angle droi fai de lappareil vocal un lieu de collision : les
impulsions thoraciques viennent se heurter au palais. La tte du bipde
devient un obstacle la parole virtuelle. Laccumulation du soufe sous
le crne ne se libre quavec le dveloppement linguo-gestuel et la
cphalisation.
Burroughs suggre que les primates protohumains expiraient sur
leur langue, du plus profond de leur corps. Un systme deux axes :
hurlements et clics, articuls les uns aux autres comme une palette de
voyelles et de consonnes, rigoureusement intersegments pour rprimer
le continuum staccato-sifement et son devenir-animal. Collision faciale
anthropostructurelle qui attache notre identi au logos []. (ci par
Barker, Barker Speaks, p. 502). (Mackay, 2012 : 25-26)
legs. Also: the conscious control over breathing in humans is similar to that which
aquatic mammals have; the ability to maintain conscious breathing was essential for
humans in the development of their ability to speak. Other primates do not speak
because physiologically they are unable to hold their breath voluntarily. The range of
sounds that humans can produce is the result of the descent of the larynx; the only
other 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 the
extension of geotraumatic theory into human culture and to language in
particular, via this keying of the geotraumatic body-map to environmental
stimuli; and the potential for development of modes of decoding of cultural
phenomena that escape the signier. Bipedalism, erect posture, forward-facing
vision, the cranial verticalization of the human face, the laryngeal constriction
of the voice, are themselves all indices of a succession of geotraumatic
catastrophes separating the material potencies of the body from is stratied
actualiy. Just as the bipedal head impedes vertebro-perceptual lineariy, the
human larynx inhibis virtual speech. One cannot dismantle the face wihout
also evacuating the voice.
Due to erect posture the head has been twisted around, shattering vertebro-
perceptual lineariy and setting up the phylogenetic precondiions for the face.
This right-angled pneumatic-oral arrangement produces the vocal apparatus as
a crash-sie, in which thoracic impulses collide wih the roof of the mouth. The
bipedal head becomes a virtual speech-impediment, a sub-cranial pneumatic
pile-up, discharged as linguo-gestural development and cephalization take-of.
Burroughs suggests that the protohuman ape was dragged through is body
to expire upon is tongue. Its a twin-axial system, howls and clicks, reciprocally
articulated as a vowel-consonant phonetic palette, rigidly intersegmented to
repress staccato-hiss continuous variation and is attendant becomings-animal.
The anthropostructural head-smash that establishes our identiy wih logos
[quoted by Barker, Barker Speaks: 502. (Mackay, 2012: 256)]
If organic constructions such as our body, are to some extent a
concatenation of accidents in the process of evolution; we can use our vocal apparatus
as an opening for an evacuation which echoes this compendium of traumatic cuts:
organic and terrestrial. Emulating the resonance of the shells of gastropods, instead
of listening to the air resonating in the cavity of the shell, we could use our glottic
cavity, our vocal cords to make audible planetary scarring. Dysarthria, dislalia, the
diglossia, the lisp, speech abnormalities, irregular articulation of phonemes, if we
observe this, can we define in the last instance the development of I Am Siting In
A Room (1969), the last trace of speech that is noticed in the work (which somehow
becomes a mark in the sequence of resonances) is the product of anatomical,
physiological, evolutionary scarification; accidents, anomalies or malformations in
459
FLUX IN
Si les constructions organiques, comme notre corps, sont
jusqu un certain point la concatnation des accidents survenus dans le proces-
sus dvolution, alors nous pouvons utiliser notre appareil phonatoire comme une
bouche dvacuation o rsonneraient toutes les blessures traumatiques organiques
et terrestres. Faisant ntre la rsonance des coquillages, au lieu dcouter lair qui
bruit 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 des
phonmes : cest finalement sur tout cela que se dveloppe I Am Sitting In a Room
(Lucier, 1969). Lultime trace de parole quon remarque encore dans luvre (sorte de
dmarcation dans la suite des rsonances) est le produit de cicatrices anatomiques,
physiologiques, volutives. Accidents, anomalies ou malformations des organes ou de
notre systme nerveux central. Qualits non particulires, qui ne renvoient pas des
vertus singulires, mais des catastrophes mondiales.
Du point de vue des artistes sintressant au bruit, se pose la
question suivante : jusqu quel point le potentiel subversif du bruit au niveau de la
forme 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, son
terrain, ses tches quotidiennes et ses devoirs rvolutionnaires, cest--dire
la recherche dalternatives (la libert) et terme, lexport de la rvolution
ou llargissement du champ de la synthse ne fai que prolonger la
poursuie copernicienne de louvert en remontant la grande chane des
humiliations : subversion du gocentrisme par lorbie terrestre, rosion
de lessentialisme aristotlicien par Darwin, dprivatisation des sanctuaires
intimes de lhomme par Freud, et expropriation des mondes ou champs
distincts de la connaissance au prot dune synthse continue et ouverte,
sous les auspices de la neuroscience, des mathmatiques synthtiques et
de lastrobiologie unie. (Negarestani, 2012a : 43)
Comment accomplir cette tche dans le domaine de la musique
exprimentale ? Quels procds, quelles optiques nous aideront gagner sur notre
intriorit un point de vue tranger la vanit et au narcissisme anthropocentriques ?
On pourra raffirmer cette ide, avance par Brassier et
par dautres
4
: Le bruit exacerbe le clivage entre savoir et sensation en divisant
lexprience ; il oblige concevoir au-del de la sensation. (Brassier, 2009) Dans
our organs or in our central nervous system. These non-particular qualities are not
singular virtues, but global catastrophes.
From the artistic circle linked with noise, this question is
posed: to what extent does the subversive potential of noise at the level of abstract
form (Brassier, 2010) challenge the disseminative ability of capitalism?
Capitalism provides the face as a visual representation of the I
and 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 scope
of synthesisis but the continuation of the Copernican pursui of the open
by treading along the great chain of humiliations: the orbial subversion of
the geocentric earth, the Darwinian erosion of Aristotelian essentialism, the
Freudian deprivatization of mans inner sanctuaries, and the expropriation
of discrete worlds or elds of knowledge on behalf of an open synthetic
continuum under the auspices of neuroscience, synthetic mathematics and
unied astrobiology. (Negarestani, 2012a : 43)
How to carry out this task from a position within experimental
music? What procedures or approaches can help us in getting a perspective of our
interior, indifferent to vanity and anthropocentric narcissism?
Reaffirming the arguments of Brasier and others
4
: Noise
exacerbates the rift between knowing and feeling by splitting experience, forcing
conception against sensation. (Brassier, 2009) It would be interesting to put aside
the particular sensations (which feed the socially prescribed subjectivation) in
performances where the body is involved, in order to play in a new terrain where the
fact of investing in our own recognition and individuality has been overcome.
Brassier also points to a Subjective depersonalization as a
precondition for collectivity.
Depersonalization resides in the experience of oneself as if this were an outside observer
of mental or bodily processes. Feeling detached from the body or the world. This can
be commonly found in cases of anxiety, panic attacks or the use of psychoactive drugs.
Subjective depersonalization is interesting not only as
objectivization of the experience followed by a possibility of a communist
subjectivity (Brassier), but also, taken in the context of sound performance, it can
be 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 text Anti-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.
461
FLUX IN
les performances impliquant le corps, il serait intressant de laisser de ct les
sensations particulires (qui alimentent la subjectivation socialement prescrite)
pour pouvoir jouer sur un terrain neuf, investir autre chose que notre propre
reconnaissance 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 ses
propres processus mentaux et corporels ; se sentir spar de son corps ou du
monde. Cet tat se rencontre souvent dans les cas danxit, de crises de panique
ou de recours des substances psychotropes.
La dpersonnalisation subjective nest pas seulement
intressante comme objectivation de lexprience , suivie de la possibilit
dune subjectivit communiste (Brassier) : dans le contexte de la performance
sonore, elle peut tre le complment idal lhypothse dun appareil phona-
toire (n du systme diaphragme-poumon) o se reflteraient les traumatismes
qui constituent la subjectivit [de lhomme moderne] ou sa focalisation rgionale
dans le monde (Negarestani, 2012b).
Cest en cela que consisterait l vacuation gotraumatique
de la voix (EGV) : une vacuation performative de la voix, un radical pas en avant
dans 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 par
la prise de conscience et, du mme coup, la distanciation de nos propres penses
comme matriau dexprimentation. Ou encore : se contraindre une perspective de
lecture de notre pense non comme activit insparable de sa corrlation avec notre
esprit, mais directement lie aux structures qui existent dans tel ou tel contexte ;
penser depuis un corps physique, connect travers notre systme nerveux la
ralit 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 sans
organes

(CsO) de Deleuze et Guattari (1972 ; 1980).

La notion de CsO apparat pour la premire fois chez De-
leuze dans Logique du sens (1969). Lauteur emprunte lexpression une pice
radiophonique dArtaud, Pour en finir avec le jugement de Dieu (1947). Lhomme
est malade , y clame Artaud, parce quil est mal construit : pour lui, la voix
from lung-diaphragm system), which reverberates in the traumas that constitute its
subjectivity 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 in
improvisation, aims to promote the self-inductance of a subjective depersonalization,
producing sounds through verbal expression. This would be a process that begins at the level
of 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 correlation
between reality and our mind, but in direct connection with the proposed structures in each
context. This would be a process of thinking from a physical body connected through our
nervous system to physical reality, and establishing a distantiation to keep the gap between
concepts 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 and
Guattaris Body without organs (BwO).
5

Deleuze introduces the concept of BwO in his work in Logique du sens
(1969), borrowing the term from the Artauds radio play: To Have Done Wih the Judgement
of God (1947). Man is sick claims Artaud in the play because he is badly constructed. The
voice for him is the channel for the representation of corporeal dramas, the body that produces
and expels secretions. For Artaud, abject corporeality is a site of possible insurrection.
In the recording we can hear: screams, growls, roars, the
whole collection of sounds and nonsense words that make up the Artauds glossolalia.
It provides a connection between artistic practice and
psychiatric diagnosis and treatment.
For Deleuze and Guattari, the body without organs is a set of
practices outlining the disappearance of the body: drawing on backgrounds such as
the 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 form
devoid of coding, the general (and not solely individual) unconscious.
Deleuze and Guattari propose self-experimentation to enable our
virtual potencies. These potencies are activated by conjunctions with other organisms.
In its most concrete form the BwO is what Deleuze and Guattari
call a plane of consistency or plane of immanence.
6
In this regard, the earth itself
is a BwO in which all experience is expressed.
5
The term BwO is described
in detail by Deleuze and Guattari in
LAnti-dipe (1972) and Mille 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.
463
FLUX IN
est le canal par lequel se reprsentent les drames corporels, le corps qui produit
et expulse ses scrtions. Labjecte corporalit qui est pour Artaud le lieu mme
o mener linsurrection.
Dans la pice, on entend des cris, des grognements, des
rugissements, toute la palette de sons et de mots dpourvus de sens qui forment
la glossolalie dArtaud.
Le diagnostic et le traitement psychiatrique ne sont pas
sans 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 prcdents
comme la volont de pouvoir nietzschenne et la substance spinoziste, ils situent
dans le CsO un inconscient non personnalis, dsir ltat pur sans codification,
inconscient gnral et non uniquement individuel.
Deleuze et Guattari nous proposent dexprimenter sur
nous-mmes pour rvler nos forces virtuelles, forces qui sactivent travers la
conjonction avec dautres organismes.
Sous sa forme la plus concrte, cette exprimentation doit
suivre selon les auteurs un plan de consistance ou plan dimmanence
5
. En
ce sens, la terre mme est un CsO dans lequel toute exprience est exprime.
Le troisime plateau de Mille Plateaux (1980) souvre sur
une allusion au professeur Challenger (personnage central dune srie de romans
de science-fiction de Sir Arthur Conan Doyle). Les auteurs le font parler des
strates et des relations entre elles :
Il expliqua que la Terre la Dterriorialise, la Glaciaire , la Molcule
gante tait un corps sans organes. Ce corps sans organes tait travers
de matires instables non formes, de flux en tous sens, dintensis libres
ou de singularis nomades, de particules folles ou transioires. Mais l
ntait pas la question pour le moment. Car, en mme temps, se produisai
sur la terre un phnomne trs important, inviable, bnque certains
gards, regrettable beaucoup dautres : la stratication. Les strates taient
des Couches, des Ceintures. Elles consistaient former des matires,
emprisonner des intensits ou fixer des singularits dans des systmes
de rsonance et de redondance, constiuer des molcules plus ou moins
grandes sur le corps de la terre, et faire entrer ces molcules dans des
ensembles molaires. Les strates taient des captures, elles taient comme
des trous noirs ou des occlusions seforant de retenir tout ce qui passai
leur porte. Elles opraient par codage et terriorialisation sur la terre,
elles procdaient simultanment par code et par terrioriali. (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 of Mille Plateaux (1980), opens with an allusion
to George Edward Challenger, better known as Professor Challenger, (a fictional and
central 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 Deterriorialized, the Glacial, the giant
Moleculeis a body wihout organs. This body wihout organs is permeated
by unformed, unstable matters, by ows in all directions, by free intensiies
or nomadic singulariies, by mad or transiory particles. That, however, was
not the question at hand. For there simultaneously occurs upon the earth a
very important, ineviable phenomenon that is benecial in many respects
and unfortunate in many others: stratication. Strata are Layers, Belts.
They consist of giving form to matters, of imprisoning intensiies or locking
singulariies into systems of resonance and redundancy, of producing upon
the body of the earth molecules large and small and organizing them into
molar aggregates. Strata are acts of capture, they are like black holes or
occlusions striving to seize whatever comes wihin their reach. They operate
by coding and terriorialisation upon the earth; they proceed simultaneously
by code and by terriorialiy. (Deleuze & Guatari, 2004: 45)
For Deleuze & Guattari the BwO of maximum
deterritorialization
7
is Earth, located between any stratum and the space or means
by which all the agencements invariably must pass.
In 1977 Deleuze in his Vincennes lessons spent time in his
classes speaking of music, and of the Deterritorialized voice
8
establishing that
one of the problems of voice in music is to go beyond gender difference, with its
characteristic vocal sonorities. Experimental music with vocal content should (in line
with 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 can
drag and expel to the outside traumatic cuts.
In thinking through the development of a GEV, it is necessary
to 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, thequestions 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]
465
FLUX IN
Pour eux, le CsO le plus dterritorialis
6
est la Terre
elle-mme, il est dans toutes les strates, cest lespace o le moyen par lequel tout
agencement doit invitablement passer.
En 1977, Deleuze consacre une partie de son cours de
Vincennes la musique, la voix dterritorialise

7
. Il explique que le problme
de 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 et
expulse 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, representations
or 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 production
of the unconscious rather than the interpretation of it (the typical procedure of
psychoanalysis, against which they assail violently).
An approach based on an ethical-aesthetical relationship with
the body in schizoanalytic experimentationunderstanding schizoanalysis as the study of
social subjectivity production, seems sadly doomed to commit past mistakes in its artistic
manifestations, again placing the artistwith their passions, feelings, experiencesas a
subjectivity around which everything rotates. To individualize oneself based on what can be
experienced 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 dramatic
art), but the fact is that the vast majority of performances that seek to invoke the BwO
obviate the possibility of an event of thought that does not belong to the subject, instead
producing a weak reading of the of Marseilles writers irrationality. Again we are faced
with a catharsis with which to redeem the spectators Lower passions. Presented as a
narcissistic rather than resonant trauma, this can only be understood as a catharsis that
refers 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.
467
FLUX IN
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 nous
sera 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 dune
relation thico-esthtique au corps travers lexprimentation schizo-analytique (la
schizo-analyse tant comprise comme ltude de la production de subjectivit sociale)
parat tristement vou reproduire les erreurs du pass, refaire de lartiste (avec
ses passions, ses sensations, ses expriences) une subjectivit autour de laquelle tout
gravite. Ceux qui sefforcent datteindre un je-multiplicit semblent tomber dans
le mme pige : sindividualiser pour sexprimenter comme sujet.
Cest peut-tre un hritage du CsO dArtaud (dans le contexte de
lart dramatique), mais il est clair que la grande majorit des performances qui tentent
dinvoquer 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 qui
prsente le traumatisme non comme rsonant, mais comme narcissique. Cest le retour
du soi , de la non-acceptation des multiplicits qui nous constituent.
Dans la tche qui consiste rexaminer le potentiel du
CsO comme ventuelle fondation de lGV, lexprimentation psychologique et
corporelle propose par Deleuze et Guattari doit sen tenir (comme les auteurs
lexigent de la psychanalyse) lanalyse de linconscient individualisateur et
suivre le principe de lobtention dune vision externe, vision qui contemple la
mdiation laquelle nous sommes exposs travers les objets. Sans cela, nous
risquons 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 de
lexprience 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 prtend
rtablir, en se ralisant, une immanence absolue. Mais son utilisation pour lGV
risque daboutir une contradiction, puisqu travers le CsO Deleuze trace les
caractristiques dune thologie de la sensation. Pour viter toute crmonie
qui ramnerait lattention sur nos sensations, sur lexprience subjective, il
nous faut atteindre une pense non rflchie, une pense qui ne gnre par de
reflet dans la subjectivit.
La notion de vision-en-Un propose par Franois Laruelle
peut nous y aider.
In the task of reviewing the potential of the BwO as a
possible basis for the GEV, and just as they demand of psychoanalysis, the
psychological and body experimentation given by Deleuze & Guattari should
be limited in the interpretation of the unconscious that individualizes us, and
subordinated to the principle of obtaining an external view that contemplates
the mediation to which we are exposed through objects. Otherwise we remain
prisoners 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 mode
of individuation, accessed by becoming a BwO and which starts ontologically
in the difference. The reality of a BwO is intended to restore an absolute
immanence. But as a tool for GEV, this falls into contradiction when we think
about the manner in which Deleuze, (through BwO) defines the characteristics
of an ethology of sensation. To avoid this being a ceremony in which we attempt
to re-conquer our attention of our sensations, of our subjective experience, we
need a concept by which we can obtain an unreflective thought, one that does
not generate a reflexive position on subjectivity.
This notion may be found in the Franois Laruelles notion:
Vision-in-One.
EVACUATION OF THE REAL
9
The radical critique of Laruelle can be effective as a tool
in the fight against the reintroduction of the subjectivity of the artist in his work;
expelling attention outside the territory of individual sensations.
Laruelle understands radical critique as a search for
an instance of reality more real and immanent than the Difference or the
Other (which are core concepts of contemporary philosophy),
10
and in this
regard 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, given
that these terms do not refer to the concepts of ontology and / or traditional
metaphysics.
Primary concept of non-philosophy, equivalent wih 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.
469
FLUX IN
VACUATION DU REL
8
La critique radicale de Laruelle peut savrer utile pour lut-
ter contre la rintroduction de la subjectivit de lartiste dans luvre, pour arracher
lattention au territoire des sensations individuelles.
Laruelle entend par critique radicale la recherche dune ralit
plus relle et plus immanente que la diffrence ou que l autre (notions centrales de la
philosophie contemporaine
9
), 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 de
Rel. Ce qui dtermine en-dernire-instance la thorie et la pragmatique
de la pense-monde ( philosophie). La vision-en-Un est radicalement
immanente et universelle. Ce pourquoi elle donne-sans-donation la
donation de la pense-monde. (Laruelle, 1998 : 202-203)
Le terme Un-en-Un ou vision-en-Un indique labsence de toute opration
capable de le dnir ; sa non-inscription dans un espace oprationnel ou dans
une structure plus puissante ; son immanence en soi et non par rapport autre
chose ; la simplici nue de ce qui ne connat jamais ni excs ni dfaut, puisquil
est la seule mesure requise, mais mesure qui nest jamais mesure de soi, qui ne
mesure 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 pense
et son objet. Dans lexprience des philosophies de la diffrence , la pense cesse
dtre 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 la
posteriori de son exercice, de son projet ou de sa dcision. Penser, donc, cest dpasser
ou 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 and
universal; i is the given-wihout-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 any
operation that would dene the latter; the fact that i is not inscribed wihin
an operational space or more powerful structure; is immanence in iself
rather than to anything else; is naked simpliciy as never eiher exceeding
or lacking, because i is the only measure required, but one that is never a
self-measurement, one that measures nothing so long as there is nothing to
measure. (Laruelle, 2003: 176)
Accordingly, Laruelle, Deleuze and other philosophers
of Difference have changed the image of thought, inventing a new relation
between thought and its object. That is, from the perspective of philosophies
of Difference, thought should no longer be considered as describing an
already given object (e.g. adequacy between saying from doing, saying from
the object, etc.); but rather is should be considered that which discovers
the object, that which is subsequently manifested in its exercise, project or
decision. 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 the
object. This dull real determines and encloses thought. Laruelle states that to
practice deconstructions is a double game: in that doing so renounces the self-
positing, the self-legitimation of transcendence and its performativity, instead
emphasizing the priority that philosophy has always given to transcendence
over immanence.
Therefore, according to Laruelle consists in moving beyond the
being and the other, to reach a performativity henceforth immanent or radical,
absolutely non-autopositional: the ViO may be understood as that performativity
with the essence of the real.
Brassier in conversation with Mattin, points about the possible
relationship between ViO and non idiomatic improvisation:
I think the key thing to emphasize would be the potential consonance
between vision-in-One and non idiomatic improvisation, as a fusion
of theory that abjures ready-made theoretical forms borrowed from
philosophy and/or the social sciences (theoretical-aesthetic bricolage
indulged in by artists shopping for a handy theory), and a practice
that abjures generic aesthetic idioms, not only those pertaining to
musical genre, but also those have accreted around the practice of free
improvisation and turned i into another genre. (Brassier & Mattin, 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.
471
FLUX IN
Par consquent, il convient selon lui de se dplacer au-del
de l tre et de l autre , dadopter dornavant une performativit immanente
ou radicale, absolument non-autopositionnelle : la vision-en-Un peut se comprendre
comme 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 serai la consonance potentielle entre la
vision-en-Un et limprovisation non idiomatique, comme fusion entre une thorie
qui abjure les formes thoriques toutes faies empruntes la philosophie et/ou
aux sciences sociales (bricolage thorico-esthtique pratiqu par des artistes
la recherche dune thorie commode) et une pratique qui abjure les idiomes
esthtiques gnriques, non seulement ceux lis aux genres musicaux, mais
aussi ceux qui se sont cristalliss autour de la pratique de limprovisation libre et
en ont fai son tour un genre (Brassier, 2012).
REMARQUES FINALES
La constitution et la mise en pratique de lGV sont en marche. Tous
les exemples qui ont inspir ce texte paraissent converger vers la ncessit de considrer
lvacuation de la voix comme un bruit non-autopositionnel. Mme si lon part dune pense
matrialise via les organes qui interviennent dans larticulation du langage, cette pense
devient irrflchie et traverse le sujet sans gards pour sa taxinomie biologique, entrant en
rsonance avec chacune des coupures traumatiques dont notre corps, la plante et chacun
des 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 russaes, ses checs et tout ce que cette vie peut avoir din-
trt. Sa biographie (du grec io, bios, la vie et ypsiv, 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 polaique de lpoque, cherchant
reconstruire sa pense et sa gure sous forme documentaire. Miguel Prado peut
senregistrer sous forme audio, visuelle ou crae.
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 contemplate
the evacuation of the voice as a non-autopositional noise. In spite of starting from a
materialized thought through all the organs involved in the articulation of language,
this thought becomes unreflective and runs through the subject, ignoring its biological
taxonomy, activating the resonance frequencies of each traumatic cuts scarified in our
body, in the planet and in each of the objects and elements that mediate our relationship
with 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 signicant interest to the same. His
biography (Greek io, bios, life and ypsiv, grfein, wrae) usually takes the form
of a exposaory story frequently narrated in the third person of the life of a real person
from birth to death or to the present. In as most complete form, Miguel Prado also
explains his actions according to the social, cultural and polaical context of the time
attempting to reconstruct documentarily, his thoughts and gure. Miguel Prado can
be recorded in the form of audio, visual or wraing.
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