Tomaso Carnetto
The Spinoza Fragments03

The Spinoza Fragments / Part III Spaces and figures I


Raum / deren Spezifikation mittels Produktion von Wortfeldern / Worträumen erfolgt

Handlungsanweisung

(figurative Spezifikation innerhalb der Worträume )


interaction between the figures (and the objects) formulated as instructions

how to act and what to say


Space based on the geometrical connection of the wordfields’ coordinates Figurations (and

objects), which are also based on word fields, but are brought to light by movements


my drawing and painting


taken from the father’s narrative which gets its designable and readable form by

according the wordfields' coordinates of the poems

  • taken from the poems / the notated segmentations of events


Bild-Nr. MÄNNER • WND(10 Artikel)

Wir müssten prüfen, inwieweit sich die Körperräume erst im wechselseitigen Zugriff ausdehnen

fragt sich, inwieweit wir überhaupt von Sandräumen sprechen können, da es ihnen wohl nicht an Substanz, jedoch an Bindemittel fehlt, die Substanz räumlich zu stabilisieren.


Ein Mann könnte durchaus annehmen, Ejakulat sei derart als Bindemittel zu bestimmen, dass also das Flüchtige des Weiblichen nur insofern Stabilität anzunehmen in der Lage sei, als es vom männlichen Ejakulat durchdrängt werde.


man mag diesen Gedanken absurd finden, in der Betrachtung pornografischer

Darstellungspraktiken jedoch ist neben dem zwanghaften Beleg männlicher Virilität genau das Gegenstand der subkutanen Konstitution; den weiblichen Körper als primär territorialem Raum in der Besamung konstitutiv zu stabilisieren (wozu es einer Virilität bedarf, die sich einem im unerträgliche Länge gezogenen Besamungsakt beweisen muss).

wnd_27548

This photo was taken in 1939 in Abyssinia, now Ethiopia,

by an unknown Italian soldier.

It later became the property of the British army following his capture and was used as their Xmas card in 1940.

Akt der Einspeisung / Verkleben der Teilelemente


Beginnen wir mit der photosynthetischen Ebene

 

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2019-05-02 / Work

The Spinoza Fragments02

The Spinoza Fragments / Part II The organs-partial objects

and the body

without organs are at bottom one and the same thing


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“That is why the partial objects are not the expression of a fragmented, shattered organism, which would presuppose a destroyed totality or the freed parts of a whole; nor is the body without organs the expression of a „de differentiated“ („de-differencie“) organism stuck back together that would surmount its own parts.

The organs-partial objects and the body without organs are at bottom one and the same thing, one and the same multiplicity that must be conceived as such by schizoanalysis. Partial objects are the direct powers of the body without organs, and the body without organs, the raw material of the partial objects.

The body without organs is the matter that always fills space to given degrees of intensity, and the partial objects are these degrees, these intensive parts that produce the real in space starting from matter as intensity=0.”



On this:

Gilles Deleuze, Félix Guattari, Anti- Oedipus, Capitalism and Schizophrenia. Translated from the French by Robert Hurley, Mark Seem, and Helen R. Lane, University of Minnesota Press, Minneapolis, 1983

„The bodiless, leptosome, vertical Man in the work of Alberto Giacometti“ as it was shown from January 29th to March 30th 1988 at Staatsgalerie Stuttgart, as I saw it there;


(for hours, unable to detach, to tear myself away from it),

about which Genet wrote after visiting his workshop in 1958: „The work of Giacometti makes the world even more unbearable to me, because it seems that this artist had knew how to avoid what may prevent his gaze from discovering what will be left from Man if all false semblances are removed.“


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2019-05-02 / Fragment I

The Spinoza Fragments01

The Spinoza Fragments / Part I: Expression of singularity


Annotation I

Estragon / Vladimir / Lucky / Pozzo / a boy / a country road / a tree / a monkey-cloud


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erwähnen sollte ich noch Pan, der mich aus dem Gebüsch

heraus am Arm ergriff, den ich unwillkürlich an seinem Gestank erkannte,

der mir einen kleinen Vogel in meine vor

Schrecken aufgespreizte Hand

legte

A few days later a naked jew



virtues-humility, makes them serve ends completely his own, extraordinary ends that are not very ascetic at all;

the ascetic

poverty, chastity-and


in fact



He

makes them the expression of his singularity.

sitting on a low hill,

trying to take off the boot / pulling at it with both hands, panting


D1: In calling something »cause of itself« I mean that its essence involves existence,

i.e. that its nature can’t be conceived except as existing.

They are not moral ends in his case,

or religious means to another life, but rather the „effects" of philosophy itself.


For there is absolutely


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or did he mean painting?

what is (actually) the same as a gasp! or a pant!)

The play starts her

USFET Headquarter

/ 12 March 1947

(or a little bit later in measure of supergalactic time shifts)

1st Scene

/ a three-man outposts approximately 50 miles north in a dilapidated stone hut at the foot of Dianaburg


/ Pozzo (my father) / a boy named Anselino / a road worker, they call him country-road because of his black greasy hair /

and a monkey-cloud without a name.

all speaking a very bad English


muddled up

feel the tolling /

right between my temples /

eating bread and sausage (or something like that (without meat) that row for more than two hours /

Magdalena fainted / the one who’ll be most bereft / the only one who loved her father /

alone for a while / was hungry


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2019-05-02 / Fragment II / designation

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2019-05-02 / fragment I / annotation

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