“The map had been the first form of misdirection, for what is a map but a way of emphasizing some things and making other things invisible?”

A child in the dark, gripped with fear, comforts himself by singing under his breath. He walks and halts to his song. Lost, he takes shelter, or orients himself with his little song as best he can. The song is like a rough sketch of a calming and stabilizing center in the heart of chaos.

to draw a circle around that uncertain and fragile center, to organize a limited space. Many, very diverse, components have a part in this. The forces of chaos are kept outside as much as possible, and the interior space protects the germinal forces of a task to fulfill or a deed to do. A wall of sound, or at least a wall with some sonic bricks in it. Radios and television sets are like sound walls around every household and mark territories (the neighbor complains when it gets too loud)

Finally, one opens the circle a crack, opens it all the way, lets someone in, calls someone, or else goes out oneself, launches forth. One opens the circle not on the side where the old forces of chaos press against it but in another region, one created by the circle itself. As though the circle tended on its own to open onto a future, as a function of the working forces it shelters. This time, it is in order to join with the forces of the future, cosmic forces. One launches forth, hazards an improvisation. But to improvise is to join with the World, or meld with it. One ventures from home on the thread of a tune.

When do I do Tralala ? When do I hum? I hum in three various occasions. I hum when I go around my territory…and that I clean up my furniture with a radiophonic background…meaning when I am at home. I also hum when I am not at home and that I am trying to reach back my home…when the night is falling, anxiety time…I look for my way and I give myself some courage by singing tralala. I go toward home. And, I hum when I say “Farewell, I am leaving and in my heart I will bring…”. That’s popular music “Farewell, I am leaving and in my heart I will bring…”. That’s when I leave my place to go somewhere else.
In other words, the ritournelle (refrain), for me, is absolutely linked to the problem of territory, and of processes of entrance or exit of the territory, meaning to the problem of deterritorialization. I enter in my territory, I try, or I deterritorialize myself, meaning I leave my territory.


Art does not wait for human beings to begin

Music becomes nature and nature becomes music and their resulting indiscernibility is the product of a philosophical labour: to select terms best suited to the task of thinking and describing process.

One ventures from home on the thread of a tune…One launches forth, hazards an improvisation, to join with the world





‘home territory’ together and sensed as a ‘whole’.

Every assemblage is territorial in that it sustains connections that define it, but every assemblage is also composed of lines of deterritorialisation that run through it and carry it away from its current form

Deterritorialisation can best be understood as a movement producing change. In so far as it operates as a line of flight, deterritorialisation indicates the creative potential of an assemblage. So, to deterritorialise is to free up the fixed relations that contain a body all the while exposing it to new organisations.


assembly of book and hand tearing out pages to feed a fire or assembly of a reader inserted into esthetic assemblages inspired by the notion of ‘ becoming imperceptible ‘ to create an art work


whereas dogmatists had maintained a certain despotism of reason — giving reason fixed but unjustifiable rules — a certain barbarism had allowed for ‘a kind of nomads who abhor all permanent cultivation of the soil’

“Such texts are traversed by a movement that comes from without, that does not begin on the page (nor the preceding pages), that is not bounded by the frame of the book; it is entirely different from the imaginary movement of representation or the abstract movement of concepts that habitually take place among words and within the mind of the reader.” -

Through multivalent meanings and juxtaposition, Nietzsche asks for the reader to “find the force that gives a new sense to what I say, and hang the text upon it.

There is a nomadism in these shifting intensities that are “a continuous flux and the disruption of flux.”

proper names that are “neither signifiers nor signified.” “The signifier,” writes Deleuze, “is really the last philosophical metamorphosis of the despot.”




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