By Ronald Bogue
First released in 2003. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Additional info for Deleuze on Music, Painting and the Arts
The expressive is primary in relation to the possessive” (MP 389; 316). Art, as the disposition of expressive qualities, is the active agent in the formation of territory and the establishment of its occupant’s proprietary identity. What is crucial in the establishment of a territory is the autonomy of qualities and rhythms. In Deleuze and Guattari’s terms, a certain level of decoding or deterritorialization must take place if a territory is to be formed. The coloration of the tropical fish must be divested of any fixed connection with sexual or aggressive stimuli if it is to serve as a territorial marker.
Becoming partakes of the time of Aion, a convulsive, adifferentiated temporal flux, whereas history belongs to the world of Chronos, the time of measure and sequence. In A Thousand Plateaus, Deleuze and Guattari oppose traditional history to becoming, associating history with memory and becoming with an antimemory. Memory, they argue, “has a punctual organization since every present refers at the same time to the horizontal line of the course of time (kinematic), which goes from a former present to the contemporary present, and a vertical line of the order of time (stratigraphic), which goes from the present to the past or to the representation of the former present” (MP 361; 294–95).
By progressively modifying a figure through the addition or subtraction of rhythmic values, the composer can develop “personnages rythmiques” whose dynamic relationships are like those of characters on the stage: Let’s imagine a scene in a play between three characters: the first acts in a brutal manner by hitting the second; the second character suffers this act, since his actions are dominated by those of the first; lastly, the third character is present at the conflict but The progressive augmentation or diminution of values in itself is not an uncommon compositional technique, but in Messiaen’s hands it becomes a complex and original mode of musical development.
Deleuze on Music, Painting and the Arts by Ronald Bogue