The Conflict Between Desiring-Machines and the Body Without Organs
• The body without organs experiences a conflict with desiring-machines, causing it to resist every coupling of machines and every sound of a machine.
• The body without organs presents its smooth, slippery, opaque, taut surface as a barrier to resist organ-machines.
• The body without organs sets up a counterflow of amorphous, undifferentiated fluid to resist linked, connected, and interrupted flows.
• The body without organs repels desiring-machines, viewing them as an over-all persecution apparatus.
• The genesis of the machine lies in the opposition of the process of production of the desiring-machines and the nonproductive stasis of the body without organs.
• The paranoiac machine is merely an avatar of the desiring-machines, a result of the relationship between the desiring-machines and the body without organs.
• The forms of social production involve an unengendered nonproductive attitude, an element of antiproduction coupled with the process, a full body that functions as a socius.
• The socius as a full body forms a surface over which the forces and agents of production are distributed, appropriating for itself all surplus production and arrogating to itself both the whole and parts of the process.
• Society constructs its own delirium by recording the process of production, but it is not a conscious delirium, but a true consciousness of a false movement.
• Capital is the body without organs of the capitalist, giving to the sterility of money the form where money produces money.
• The machine is responsible for producing a relative surplus value, while embodying itself in the machine as fixed capital.
Capitalism and Production
• Capitalists are aware of the opposition between capital and labor, and use it to extort surplus labor.
• Capital becomes a recording surface that reflects all of production, establishing recording rights.
• The development of relative surplus-value in capitalist mode of production transfers productive powers and social interrelations from labor to capital.
• Capital becomes a mystic being, as all social productive forces seem to be due to capital, not labor itself.
The Body Without Organs and Desiring-Production
• The body without organs serves as a surface for recording the entire process of production of desire.
• Organs are regenerated, "miraculated" on the body of Judge Schreber, who attracts God's rays to himself.
• The enchanted recording surface arrogates all productive forces and organs of production, acting as a quasi cause by communicating the apparent movement (fetish).
• The schizo practices political economy, and all sexuality is a matter of economy.
The Disjunctive Synthesis of Production and the Schizophrenic
The Disjunctive Synthesis of Production
• The law governing the production of recording differs from the production of production.
• The disjunctions of capital are a natural or divine presumposition, affecting the distribution of productive connections from machines to the body without organs.
• The schizophrenic's "either... or... or" refers to the system of possible permutations between differences that always amount to the same.
The Schizophrenic's Body and Disjunctions
• The schizophrenic, possessing the most meager capital, inscribes a world of parries on his body, creating a world of parries.
• The disjunctive synthesis of recording overlaps the connective syntheses of production, extending the process as a method of inscription.
The Divine Nature of Disjunctions
• The divine is inseparable from the disjunctions he uses to divide himself into parts: earlier empires, later empires, and later empires of a superior God, and those of an inferior God.
The Role of Disjunctive Syneses in Paranoia
• Freud emphasizes the importance of disjunctive syntheses in Schreber's delirium and delirium as a general phenomenon.
• The recording of desire goes through various stages in the formation of the Oedipus complex, but the genealogy of desire assumes disjunctions.
• The schizo is constantly subjected to interrogation and cross-examination, formulated in terms of the existing social code.
Psychoanalysis and the Oedipal Triangle
• Psychoanalysis often uses the Oedipal triangle as its basis for understanding psychotic phenomena.
• The schizophrenic often manipulates the Oedipal triangle, introducing his own reference points and breaking through the simplistic terms and functions of the Oedipal triangle.
• The full body is introduced as a third term in the series of divine forms, rejecting attempts to impose triangulation implying it was produced by parents.
• The schizophrenic's system of coordinates is based on his own recording code, which does not coincide with the social code or coincides with it to parody it.
• The schizophrenic scrambles all the codes, shifting from one code to another according to the questions asked.
• The recording process affects the drawings themselves, showing up in the form of lines standing for "catastrophe" or "collapse" that are so many disjunctions surrounded by spirals.
• Despite the attachment of organ-machines to the body without organs, the body remains fluid and slippery.
• Agents of production alight on the body and cling to it, such as sunbeams containing thousands of tiny spermatozoids.
• All this happens and is all recorded on the surface of the body without organs, including the copulations of the agents, divisions of God, and the genealogys marking it off into squares like a grid.
No comments:
Post a Comment