A question of silence, of lurking, raised by chris here, brings me out of
hiding (drum roll). I've been following all of these discussion, and as ever,
am amazed to see how strings spin off on their own, as they should, e.g.
branching/forking away but eventually back toward the topic of plateau
10 in ATP about which Erik initiated discussion. My silence is due to a heavy
work load, between research, preparing conf proposals, preparing upcoming
conferences, preparing... preparing.... preparing..... and oh yeh, there is
something called a 'private life'.
What I am wrestling with each day as I ponder these discussions is the inter-
section of several strings, i.e. the 'becomings' string slithering out of
the plateau 10 discussion, the actual/virtual string, and this one on ideology
and what one might try to discover in light of example. Each of us has some
example they like to employ, even if only privately, to try to conceptualize
what D&G are getting at. Right now, I've been pushing myself (after several
years of research and field work and also spending quite a lot of my institu-
tions grant money in support of said research) to develop chapters of a
study of Cajun dance and music spaces, esp. the dialogue between dancers/
spectators and musicians in the creation of 'spaces of affect.' It's been
through the dance/music dialogue in these sites that I've made my own
halting progress in trying to understand 'hecceities' and 'ritournelles' and
the links between these two concepts. The 'event' itself, in all its evanescenc
e, is arises through the speed-and-affectconfluence that are hecceities.
And yet, these 'events' are never divorced from the machinic, ideological
processes that create tensions *as well as* the propulsion of such events.
I'm presently grappling with my love and enjoyment of dancing and music,
the 'becomings' possible through these 'events', and yet recognizing and
finding ways to discuss the machinic, ideological processes, particularly
in terms of race and class, the impact of these on these dance/music forms
and on the events that they generate.
I'll leave my musings there, as incomplete as they certainly are (since the
project is creeping along, but less quickly than I'd hope... intro French
courses _obligent_). I'll look forward to the next set of reflections as
these strings continue.
CJ Stivale
------------------
hiding (drum roll). I've been following all of these discussion, and as ever,
am amazed to see how strings spin off on their own, as they should, e.g.
branching/forking away but eventually back toward the topic of plateau
10 in ATP about which Erik initiated discussion. My silence is due to a heavy
work load, between research, preparing conf proposals, preparing upcoming
conferences, preparing... preparing.... preparing..... and oh yeh, there is
something called a 'private life'.
What I am wrestling with each day as I ponder these discussions is the inter-
section of several strings, i.e. the 'becomings' string slithering out of
the plateau 10 discussion, the actual/virtual string, and this one on ideology
and what one might try to discover in light of example. Each of us has some
example they like to employ, even if only privately, to try to conceptualize
what D&G are getting at. Right now, I've been pushing myself (after several
years of research and field work and also spending quite a lot of my institu-
tions grant money in support of said research) to develop chapters of a
study of Cajun dance and music spaces, esp. the dialogue between dancers/
spectators and musicians in the creation of 'spaces of affect.' It's been
through the dance/music dialogue in these sites that I've made my own
halting progress in trying to understand 'hecceities' and 'ritournelles' and
the links between these two concepts. The 'event' itself, in all its evanescenc
e, is arises through the speed-and-affectconfluence that are hecceities.
And yet, these 'events' are never divorced from the machinic, ideological
processes that create tensions *as well as* the propulsion of such events.
I'm presently grappling with my love and enjoyment of dancing and music,
the 'becomings' possible through these 'events', and yet recognizing and
finding ways to discuss the machinic, ideological processes, particularly
in terms of race and class, the impact of these on these dance/music forms
and on the events that they generate.
I'll leave my musings there, as incomplete as they certainly are (since the
project is creeping along, but less quickly than I'd hope... intro French
courses _obligent_). I'll look forward to the next set of reflections as
these strings continue.
CJ Stivale
------------------