I. Three aspects of the Refrain (311-312)

A. (I.) Song

1. calm and stable, center in the heart of chaos

2. from chaos to the beginnings of order in chaos

3. danger of breaking apart at any moment

B. (II.) Home

1. circle around fragile center-organized limited space

2. activity of selection, elimination, and extraction to keep forces of chaos outside

3. interior space, germinal forces protected by sonorous, rhythmic components

C. (III.) Circle opens

1. opens in region created by circle itself--as a function of the forces it shelters

2. launches forth to join with cosmic forces

3. ventures from home on sonorous, gestural, motor lines

D. Three aspects of refrain

1. not successive moments in an evolution-refrain has all three aspects

a. fragile center in chaos

b. calm stable pace

c. breakaway

2. Paul Klee presented three aspects

E. Role of refrain--territorial, a territorial assemblage

1. directional components - infra-assemblage

2. dimensional components - intra-assemblage

3. components of passage and escape - interassemblage
 
 
 

II. Milieus and Rhythms--born from chaos (313-314)

A. Milieu

1. vibratory, a block of space-time w/ periodic repetition of the component

2. living thing has exterior, interior, intermediary milieus

3. every milieu is coded--in perpetual state of transcoding and transduction

4. open to chaos--chaos threatens with intrusion and exhaustion

B. Rhythm

1. milieus' answer to chaos

2. chaos and rhythm have in-between in common

3. chaos is not the opposite of rhythm, but the milieu of all milieus

4. rhythm whenever a transcoded passage from one milieu to another

5. rhythm is not meter or cadence.

a. meter--coded but not communicating--dogmatic

b. rhythm--incommensurable, always transcoding--critical

C. Rhythm not on same plane as that which has rhythm

D. Action occurs in a milieu whereas rhythm is located between two milieus - Haecceity

E. Milieu exists by repetition but to produce difference--difference, not repetition, is rhythmic

F. Important case of transcoding--passage of fragments of different code
 

III. Territory in relation to Milieu (314 b--315a)

A. Territory--an act that affects milieus and rhythms--territorializes them

B. Territory borrows from all the milieus

C. Territory has:

1. exterior milieu

2. interior milieu

3. intermediary milieu

4. annexed milieu

E. There is territory when:

1. milieu components cease to be directional, become dimensional

2. milieu components cease to be functional to become expressive

3. rhythm (of milieu) has expressiveness
 
 
 

IV. Expression (315a-319)

A. Territory defined by emergence of matter of expression (qualities)

1. Example: color in birds and fish

a. color is functional and transitory as tied to type of action

(1) sexuality

(2) aggressiveness

(3) flight

b. color is expressive as it gains temporal constancy and a spatial range

--territorial mark: a signature
 

c. reorganization of function

(1) component (color) becomes expressive

(2) component (color) now marks territory

2. Other examples

a. rabbit-excrement

b. monkeys-sexual organs

3. Milieu component becomes both quality and property

4. Often rapid constitution of territory--function to expression
 

B. Territory not primary to qualitative mark; mark makes territory

C. Functions in a territory not primary; they presuppose a territory-producing expressiveness

D. Territory and functions performed within it--products of territorialization

E. Territorialization--rhythm become expressive, or milieu components become qualitative

F. Distinction between territorializing expression and t-functions

G. Is this emergence art? (316 b--317a)

1. artist set boundary

2. property fundamentally artistic--art is poster, placard

3. expressive is primary to the possessive

4. art not privilege of human beings

5. there is self-movement in expressive qualities
 

H. What does a matter do as a matter of expression? (317)

1. expressive qualities enter shifting relations with one another

2. relations express:

a. territories relation to interior milieu of impulses

b. territories relation to exterior milieu of circumstances
 

3. motifs and counterpoints

a. territorial motifs form rhythmic faces or characters

b. territorial counterpoints form melodic landscapes
 

4. Expressive qualities entertain variable or constant relations with one another

a. not placards that mark a territory, but motifs and counterpoints

b. no longer signatures, but style (318)

c. examples--(318 b--319)

(1) Bird song

(2) Human
 
 
 

V. Territories (319 b--322a)

A. Territory - critical distance between two beings of the same species

1. critical distance based on matter of expression

2. keeping at a distance the forces of chaos knocking at the door

3. mannerism: abode and manner, homeland and style

a. territorial dances

b. schizophrenics converse or stroll

c. house on body--tortoise, hermitage crab

d. tattoos

4. critical distance:

a. rhythm not meter

b. rhythm caught up in becoming

(1) two animals of same sex and species confront each other

(2) animal opens territory for opposite sex
 

5. two aspects of the territory

a. regulates the coexistence of members of the same species--rhythmic characters

b. makes maximum number of different species in same milieu by specializing them-- melodic landscapes

B. Two effects of territories

1. reorganization of functions (320b-321)

a. functional activities territorialized--change pace

(1) creation of new function - building of dwelling

(2) transformation of old function - aggressiveness becomes intra-specific

b. nascent theme of specialization or professionalism

c. professional refrains intersect, but each marks own territory

2. regrouping of forces (321b-322a)

a. territory groups forces of all milieus with forces of the earth

(1) takes place at deepest level of territory

(2) forces: air, water, bird, and fish become forces of earth
 

b. intension: intense center is inside the territory and outside several territories

c. religion-common to human beings/animals depends on

raw aesthetic/territorializing factor

3. territorializing factor: a. organizes functions of milieu into occupations b. binds forces of chaos into rites and religions, forces of the earth

4. territorializing marks: a. simultaneously develop into motifs and counterpoints b. organize functions and regroup forces c. by virtue of this, territory already unleashes something that will surpass it

C. Disjunction between code and territory

1. territory arises in free margin of the code

2. each milieu has its own code

3. perpetual transcoding between milieus

4. territory forms at level of certain decoding (322)

a. biologists stressed importance of these margins

b. not to be confused with mutations or changes in internal code

(1) duplicated genes or extra chromosomes

(2) create new species independent of mutation
 

5. territorialization--a factor that lodges on the margins of the code of species

a. gives separate representatives of species possibility of differentiating

b. disjunction between territory and code allows territory to indirectly induce new species.
 

D. Territoriality (322 b)

1. establishes an intraspecific critical distance between members of the same species

2. by virtue of its own disjunction becomes indirect means of differentiation
 
 
 

VI. Assemblages and Inter-Assemblages (322 b--325)

A. Territory is the first assemblage

1. infra-assemblage--posters or placards

2. intra-assemblage--motifs and counterpoints

a. on path to other assemblages

b. passage of the refrain
 

3. refrain moves in direction of territorial assemblage

a. lodges itself there or leaves

b. refrain--aggregate of matters of expression

c. refrain--when assemblage is sonorous
 

B. Intra-assemblage - territorial assemblage and assembled territorialized functions

1. Troglodytidae, the wren family

a. male produces "music box refrain"

b. when female arrives, reduces song

c. nesting function

d. courtship function
 

2. heterogeneous elements in intra-assemblage

a. colors, odors, sounds, postures

b. dance, clicking of beak, exhibition, cries etc.

c. consistency--what holds elements together in intra-assemblage
 

3. passage to another assemblage

a. color ceases to be territorial to become courtship assemblage

(1) groups and couples

(2) autonomy even though inside territory

b. new assemblage there is reterritorialization (324 b)

(1) grass stem example

(2) assemblage converter
 

c. formation of new assemblages within territorial assemblage

d. movement from intra-assemblage to interassemblage
 

C. Interassemblage-- intra-assemblage inseparable from interassemblage (325 b)
 

VII. The Territory and the Earth, the Natal (325)

A. Natal

1. ambiguity between territory and deterritorialization

a. territory has intense center at profoundest depths

b. intense center can be located outside territory
 

2. natal is outside - examples of takeoffs from territory:

a. pilgrimages to the source--salmon

b. supernumerary assemblies--locusts and chaffinches

c. magnetic or solar guided migrations

d. long marches--lobsters
 

B. Natal--not interassemblages but leaving all assemblages

1. not milieu movement or rhythm

2. cosmos in movement

3. wed cosmic variables
 

VIII. Recap--Refrains could accordingly be classified as follows-- (326b-327a) numbered in text (1-4)

A. territorial refrains that seek, mark, assemble a territory

B. territorialized function refrains that assume a special function in the assemblage

C. the same, when they mark new assemblage, pass into new assemblages by means of

deterritorialization-reterritorialization

D. refrains that collect or gather forces in order to go outside it
 
 
 

IX. Consistency (327 - 337)
 

A. Concerns: (327 b)

1. manner components of terr-assemblage hold together

2. also manner different assemblages hold together--passage and relay

3. consistency in totality--cosmic plane

4. heterogeneities hold together--consistency--coexistence or succession

a. deterr-vector or refrain may assure consistency

b. arborescent model

(1) Tinbergens's schema

(2) oversimplified binaries: inhibition-release, innate-acquired

c. ethologists however did not fall into these binaries

(1) retained integrality of undivided terrain

(2) risk reintroducing souls and centers with use

of inhibition-release and innate-acquired

B. Rhizomatic over Arborified

1. centers--speak less of automatism, more of coordination

2. no form or correct structure from without or above

3. articulation from within--packets of relations

4. coordination or interaction--positive or negative (release or inhibition)

5. coordination or interaction--never direct or linear
 

C. Behavioral-biological "machinics" (328 b)

1. Eugene Dupreel--theory of consolidation

a. not center to exteriority, but exterior to interior (fuzzy aggregate to consolidation)

b. implies three things:

(1) no beginning from which linear sequence would derive

(2) arrangement and distribution where hole in needed to consolidate

(3) superposition of disparate rhythms
 

c. consolidation is creative

d. beginning begins in-between
 

2. Consistency same as consolidation--three factors:

a. intercalated elements

b. intervals

c. articulations of superposition
 

3. Architecture--art of abode and territory

a. consolidations--afterward and of keystone type

b. concrete--architecture free from arborescent models

(1) heterogeneous matter--vary in consistency

(2) iron intercalated--rhythm
 

c. Literary or musical work has an architecture

(1) Virginia Woolf

(2) Henry James

4. no longer question of imposing form on matter but of elaborating

material to tap intense forces
 

D. Recap (329 b)

1. matters of expression must present characteristics for taking on consistency

a. internal relations

(1) marks--become motifs and counterpoints

(2) signatures and placards constitute a "style"
 

b. elements of a discrete or fuzzy aggregate--become consolidated or take on consistency

(1) reorganize functions

(2) gather forces
 

2. Birdsong example

a. song of the chaffinch--three phases

(1) four to fourteen notes--rise in crescendo, decrease in frequency

(2) two to eight notes--lower than first, constant frequency

(3) complex flourish or ornament
 

b. full song--subsong

(1) subsong as mark or placard

(2) full song as style or motif

(3) aptitude to pass from one to other
 

E. When components develop into motifs and counterpoints of full song (330)

1. leave behind conditions of qualitative homogeneity

2. when confined to marks, marks exist with marks of another kind

3. organization of marks into motifs and counterpoints--taking on consistency

4. consistency occurs between heterogeneities

a. not because of differentiation

b. but because of consolidation of coexistence and succession

5. if quality has motifs and counterpoints--machinic opera

a. machinic synthesis of heterogeneities

b. heterogeneities--expression-- machinic "statement" or "enunciation"

c. varying relations--many machinic enunciations
 

6. Example--Stagemaker--magic bird or bird of the opera

a. not brightly colored--inhibition

b. song, refrain can be heard from great distance

(1) motif interweaving his own notes and imitations

(2) consolidation

c. many birds imitate, but imitation not best concept

(1) subsong contains elements that can enter distinctly

(2) impervious to imitation--elimination from consistency of full song

d. occupying corresponding frequencies

e. restricted zone or widened deepened zone--rain forest
 

7. Matters of expression

a. not only aptitude to form motifs and counterpoints

b. but also inhibitors and releasers

c. innatenes or learning--heredity or acquisition

d. ethology's mistake--restrict to binary distribution of these factors (331 b)

e. should start from positive notion--innate and acquired in rhizome

f. Raymond Ruyer
 

F. Primary--Consistency of Refrain--no need to be inscribed in center or in form of a vague motif

1. territorial assemblage--innate

a. assumes particular figure inseparable from decoding

b. passes to margins of the code

2. the natal:

a. is the innate but decoded

b. is acquired but territorialized

c. has consistency cannot be explained as mixture of innate and acquired
 

3. notion of behavior inadequate, too linear in comparison with assemblage

4. natal stretches from intra-assemblage to center projected outside--

and cuts across all interassemblages and reaches to gates of cosmos
 

X. Machine and Assemblage (333-337)

A. territorial assemblage inseparable from

1. lines or coefficients of deterritorialization

2. passages

3. relays toward other assemblages
 

B. Birdsong--example: artificial conditions on

1. vary by species and kind/timing of artifice

2. many birds receptive to songs of other species

3. chaffinch--innate sense of own, even when exposed to synthetic sounds

4. necessary to consider the effects of deterritorialization or denatalization

C. Distinction between machine and assemblage

1. machine-set of cutting edges, insert into assemblage undergoing deterritorialization

2. machine draw variations and mutations from assemblage

3. no mechanical effects--always machinic

a. depend on machine plugged into assemblage

b. machine has been freed through deterritorialization

4. machinic statements

a. define consistency or

b. enter matters of expression

D. Machine:

1. plugs into territorial assemblage of a species and opens it to other assemblages

2. may also open the terr-assemblage to interspecific assemblages

3. may go beyond all assemblages and produce opening to Cosmos

4. effects of extremely sudden deterritorialization

E. Black hole function

1. break inhibitor-release dualism

2. machine effect in assemblages--complex relation to other effects

3. machines are always singular keys that open or close an assemblage, territory
 

F. Consistency of matter of expression relation to molecular ("the machine starts us down the road")

1. expression relate to matter

2. semiotic inseparable from material

3. Does molar/molecular assume new figure?

In general molar-molecular distinguished: (3 ways-- 334 b--335 a)

4. specific--consistency to molecular, distinction (335 b)

5. where does life fit in distinction? (336 top)

6. Ethology--privileged molar domain (336 middle)

G. What holds assemblage together--cutting edge of deterritorialization (336)

1. example: refrain

2. deterritorialized not same as indeterminate

3. Stagemaker example (336 bottom)

H. Assemblages defined simultaneously by: (336 b--337 a)

1. matters of expression

2. reverse causalities

3. molecular combinations
 
 
 

XI. Recap (337b) Moved from:

A. stratified milieus to territorialized assemblages

B. forces of chaos to forces of earth

C. territorial assemblage to interassemblage, to opening of assemblages

D. ingathered forces of earth to deterritorialized Cosmos

- Paul Klee
 

XII. Classicism and Milieus (338)

A. Classicism refers to form matter/form substance relation

1. matter organized by succession of forms

2. each form is like the code of milieu

3. passage from one to another--veritable transcoding
 

B. Season are milieus--two operation:

1. form differentiate according to binary distinctions

2. parts, milieu or seasons, --succession: either direction
 

C. Classical Artist -

1. breaks milieus, separates them, regulates, passes . . .

2. confronts forces of chaos

a. forms to make substances

b. codes to make milieus
 

3. task of organizing chaos

4. proceed with one-two:

a. differentiation of form divided

b. distinction between parts
 
 
 

XIII. Romanticism, the territory, the earth, the people (338 b)

A. Romantic Artist

1. territorializes

2. seasons territorialized

3. Earth:

a. intense point--often deepest level

b. or projected out like focal point

c. close embrace of all forces

4. no longer confront chaos, but hell, the subterranean, the groundless

5. no longer creation but ground/foundation

6. no longer God, but hero who defies God
 

B. Earth as intense point or in projection--in disjunction with territory

C. Territory as condition of knowledge--in disjunction with earth

D. Refrain--constituted by territorial song

1. Mahler

2. Wozzeck
 

E. Ambiguity of the natal in lied

f. Fundamental innovations of Romanticism

1. no longer substance parts corresponding to forms

2. no longer milieus corresponding to codes

3. no longer matter in chaos given order in forms and by codes

4. parts like assemblages produced and dismantled at surface

5. Form became:

a. a great form in continuous development

b. a gathering of forces of earth

6. Matter:

a. no longer a chaos to subjugate and organize

b. now the moving matter of a continuous variation

7. the universal--a variation

8. matter of content becomes matter of expression

9. form ceased to be a code subduing chaos, but rather a force--sum of the forces of the earth
 

G. Romanticism lacks a people

1. territory haunted by voice of the earth

2. hero is hero of earth not people

a. Germany, German Romanticism

b. Latin and Slavic countries
 

H. Musical problem

1. romantic hero acts as subject with feelings

2. orchestration-instrumentation

--brings sound forces together or separates them

3. One-All grouping of powers

4. One-Crowd group individuations

5. Debussy: One-Crowd

6. Two conceptions of orchestration--to sonorize forces of earth or forces of people

a. Wagner/Verdi

b. Berlioz
 
 
 

XIV. Modern Art and Cosmos (342 middle)

A. Assemblage:

1. no longer confronts the forces of chaos

2. no longer uses the forces of the earth or the people to deepen itself

3. instead opens onto the forces of the Cosmos
 

B. Essential relation:

1. no longer matters-forms,

2. no longer continuous development of form and variation of matter

3. is now a direct relation: material-forces
 

C. Philosophy follows:

1. romantic philosophy: formal synthetic identity ensuring continuous intelligibility of matter

2. modern philosophy: a material of thought in order to capture forces that are not thinkable in themselves--Cosmos philosophy after Nietzsche
 

D. Matters of expression are superseded by a material capture

-Millet
 

E. Postromantic turning point: no longer forms and matter, or themes, but forces, densities, intensities

F. Forces become cosmic, material becomes molecular, --enormous force in an infinitesimal space

H. Debussy, Nietzsche, Varese (343 middle)

I. Philosophy:

1. no longer synthetic judgment

2. is like a thought synthesizer functioning to make thought:

a. travel

b. make it mobile

c. make it a force of the cosmos
 
 
 

XV. Form and Substance, Forces and Material (343 bottom--346)
 

A. Synthesis of disparate elements

1. "cosmic machine" rendering sonorous

2. machine or reproduction

a. effacing all lines, effacing all sound

b. too rich, too territorialized

c. on way to black hole

d. prevents any event

3. fuzzy aggregate:

a. essential thing--degree of consistency makes possible distinguishing elements

b. sufficiently deterritorialized to be molecularized

c. open onto cosmic instead of statistical heap

1. simplicity in non-uniformity

2. sobriety of assemblages
 

4. reterritorialization of mad, child , and noise

a. fuzzifies instead of

(1) fuzzy aggregate--consistency

(2) sobriety of assemblage

b. Paul Klee--anger at "childishness"

c. Varese
 

5. sobriety

a. becoming-child not becoming of child

b. becoming-mad not becoming of madman

c. stronger if sober gesture, act of consistency, capture or extraction

simplified, creatively limited, selected
 

6. technique

a. modern figure--not child, lunatic, or artist, but cosmic artisan

b. artisan--leave milieus and earth; connect a material with forces of consistency or consolidation
 

B. Modern -- material and forces

1. principle characteristics of material

a. molecularized matter

b. relation to forces to be harnessed

c. defined by operations of consistency
 

2. people most molecularized

3. artist relinquishes forces of earth and people (romantic)

4. established powers

a. occupied earth

b. people's organization

(1) mass media

(2) party or union type

(3) scramble all terrestrial forces of people
 

c. placed us in combat (atomic, cosmic, galactic)
 

5. many artists (ex. Nietzsche) aware of vector forces

a. molecularization

b. atomitization of material

c. cosmicization of forces
 

6. Virilio - "to dwell as poet or assassin?"

a. assassin--bombards with molecular--black hole

b. poet--lets loose molecular
 

7. artist to people

a. no longer One-Alone

b. but ceases to address people

1. Mallarme

2. Kafka

3. Klee

c. problem: modern depopulation results in open earth by means of art
 

8. molecular and cosmic

a. governments

b. arts

c. gov and arts--people and earth

d. questions . . .
 
 
 

XVI. Recap (346--347) - 3 "ages" (classical, romantic, modern):

A. Not evolution

B. Not separated by signifying breaks

C. They are assemblages enveloping different machines

D. Attributes of age present in preceding age

a. ex. forces

b. painting

c. fuzzy aggregates

d. freeing of molecular in classical and romantic

e. forces reflected in matter and form

f. question of thresholds of perception
 

E. All history is really the history of perception

a. matter of becoming

b. becoming is like a machine

1. present in every assemblage

2. assemblage--passing from one to another

3. outside any fixed order or predetermined sequence
 

XVII. Return to Refrain (347-350)
 

A. New classification system:

1. milieu refrains

2. natal refrains

3. folk and popular refrains

4. molecularized refrain

5. cosmos
 

B. Why is refrain eminently sonorous?

1. comparing powers of deterritorialization of sonorous and visual components

a. sound deterritorialization -- more refined

b. color clings more to territorialization

-synesthesia
 

2. sound:

a. owes power to phylogenetic line

b. sound invades us, impels us, drags us, transpierces us

c. takes leave of the earth . . .
 

3. potential fascism of music

4. comparison--the musician and painter (348)
 

C. Refrain: (348-349)

1. glass harmonica--crystal of space-time

2. acts on that which surrounds it

3. catalytic function

4. crystal or protein type

5. nature to:

a. become concentrated by elimination

b. or develop by additions

6. fabricates time

7. "implied tense" -- Gustave Guillame

8. ambiguity

9. formula evoking character or landscape

10. has two poles

a. hinge not only on intrinsic quality but also on state of force of listener

b. Vinteuil's sonata
 

11. is the a priori form of time

- fabricates different times
 

D. Conclusion

1. music--bad or mediocre refrain

2. musician requires

a. first type of refrain: territorial or assemblage

b. producing second type: cosmic refrain

c. Gisele Brelet -- Bartok

(1) melodies

(2) themes

(3) form

(4) forces
 

3. Chabrier as opposed to Schoenberg

--Nietzsche--Bizet

4. assembled refrain to cosmic refrain

5. becoming child of musician

6. crystal

7. two types

8. Schumann

9. Produce a deterritorialized refrain as the final end of music, release it in the Cosmos--that is more important than building a new system

10. great refrain and small refrain