Bachelard’s thoughts on rhythm, was influential to Deleuze’s theoretical work. D & G write, “The nomos as customary, unwritten law is inseparable form distribution of space, a disruption in space,. By that token it is ethos, bu the ethos is also the Abode.” (Deleuze p. 312). They go on to explain the rhythm, never takes place on the same site as where the action of the rhythm happens, there is an in-between space where this takes place. This is the milleua…Spatiality occurs - or terorrotilization when rhythm has expressiveness, the terirroty is defined by its qualities. Only through the expression of quality happens with temporal and spatial range or consistently which then creates the territory for which it exists. Expressive qualities may be a style, a mode of be-coming, this work will articulate territory
Deleuze writes, “The error we must guard against is to believe that there is a king of logical order to this string, these crossing or transformations. It is already going to for to postulate an order descending form the animal to the vegetables hen to molecule, to particles. Each multiplicity is symbiotic; its becoming ties together animals, plants, microorganisms, mad particles, a whole galaxy…Of course, sorcery always codifies certain transformations becomings…That is how we sorcerers operate. Not following a logical order, but following alogical consistency for compatibilities. The reason is simple. It is because no one, not even God, can say in advance whether two borderlines will string together or form a fiber, whether a given multiplicity will or will not cross over int o another given multiplicity, or even if given heterogeneous elements will enter symbiosis will form a consistent or cofunctioning, multiplicity susceptible to transformation. No one can say where the line of flight will pass…Make a rhizome. But you don’t know what can make a rhizome with, you don’t know which subterranean stem is effectively going to make a Rhine , or enter a becoming, people your desert. So expirement” (Deleuze p. 250-251 100 P.) The use of rhythm and rhizome throughout this dissertation ask us to not only question the style and echoes from which the objects, however unbounded, they may be are composed, but to think of the rhythm of writing, the modes of investigation. Working to find rhythm, hopes to create rhythm. This is an indeed incredibly ambitious aim, that is surely destined to fail. The greatest authors, if there is a great, the authors that vibrate with the passions that are like melody to my ears, have voice, depth and range that is something one can only dream of. In part the authors chosen here are primarily of this harmonic, I am placing in this cannon, of the Mega-Rhythm Melodians: Deleuze & Guattari, Virginia Woolf, Luce Irigiray, Helene Cixous, Nietzsche. The others are all music of their own, adding to the choras with contributions. I find a thread between them all, voices in the past which echo into the future. Since we do not know which line of flight will pass, we will continue to plant seeds, with what we do not know, in the dreams of be-coming cosmic, we will continue to reach, dig and sing the inner/outer of a cosmo-nautical metaphor. Bachelard, Gaston. 1987. On Poetic Imagination and Reverie. Spring Publications. Deleuze, G., & Guattari, F. (1988). A thousand plateaus: Capitalism and schizophrenia. London: Athlone Press.
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