Martux_m Philosophy

The ‘encounter takes place on a parallelism between the present body and acousmatic body on a reflection of one in the other, double transgression: Sound by flesh and flesh by sound to produce a machine of sensation, creator of perceptions wrested from perception, of affections uprooted from feeling, of sensations alienated from common opinion.

Creating a “disjunctive articulation” , a hidden language, where of affections shift, of becoming catapult.

It is not about talking about bodies but forming a “glorious body” “nothing is more verbal than the excesses of the flesh.”

Bodies suspended “in hesitation” developing all the senses of disjunction.

Pure vision of reflections that multiply what they reflect and give more intense participation.

If the function of sight is to double, to split, to multiply, that of the ear is to resonate, to make resonate.

Then emerges the essential relationship, the complicity of sight with listening, to seek what is the object of an oblivion of memory, of an imaginable in imagination, of an unthinkable in thought , expressing all doubles, the highest simulacrum.

To exercise our active conduct toward reflections, echoes and doubles, to collect them and to arouse them, to make multiplicity arise.

We have long known that bodies speak bodies are capable of gestures that hint at the opposite of what they indicate “of solecisms,” its ambiguous secret , its “suspended gesture” the disjunction, the disjunct syllogism .

But also the common element , reflection , bodies are languages because they are essentially “flexion” the bodily flexion freed from all that ordinarily conceals it .

To bring forth the image such is the power, the shock of copulation, an internal narrative of bodies….

The opposition of the exchange runs through all our work, it is no longer about similar things , it is not even about identity, but about the authenticity of the different .

The intensity of the different , the double, the reflection, the simulacrum that opens to reveal its secret, to make way for the rich system of intensities.

Making an event of it, meeting on the theme of “language bodies” where the identity of the self always refers back to the identity of some thing outside of us, to signify that each thing opens up to infinity – of the predicates through which it passes on condition of losing its identity as concept and as self.

Of multiple singularities; fluctuations that include within themselves the unequal or the different.

Mobile and communicating singularities that penetrate each other through an infinity of degrees, an infinity of modifications.

Fascinating world in which the identity of the self is lost, not for the benefit of the identity of the one or the unity of the whole, but for the benefit of an intense multiplicity and a power of metamorphosis – it is the state of what must be called “complicatio ‘versus ’semplificatio.”

Forming the androgyne or Prince of modifications who opens himself to his own difference and to all other differences.

The difference in itself, the unequal in itself that penetrates all others through and into the multiple bodies.

That everything is “complicated” that I am another, that something else thinks in us, in a multiplication that is that of the body, this is the joyful message, “We never know for sure whether it is not others who think in us.”

Discovering a purely expressive or “emotional” value: A pure expression, pure emotion.

 

The great imperative of this encounter is found in fixing oneself in the very place of change, to place oneself on boundaries that open to “other,” to evoke an expressive value that does not possess a body without multiplying it in the system of reflections and that does not inspire sounds without projecting it in the intensive system of resonances; to revoke a bodily uniqueness, to re-describe the itinerary of one’s “feeling,” whose first concern is not to define the thing heard or seen, but to attempt to penetrate its mystery, its unquestionable complexity.