Deleuzecraft Love

 

Published in 'Performance Research' Journal Vol.13 no.3 (Routledge, 2008), in conjunction with 'Sonorous Map: Sunart' and 'Well at the Whorl's End'

 

‘That is how we sorcerers operate.  Not following a logical order, but following alogical consistencies or compatibilities.  The reason is simple.  It is because no one, not even God, can         say in advance whether two borderlines will string together… No one can say where the line of flight will pass...Is it a new borderline?...Is it a way out?’[1]

 

Manifesting archetypal forms in the landscape, symbolic representations of a complex of ideas, or a capture of nonvisual forces as metalingual lines of flight. Points are nothing but inflections of lines – it’s not beginnings and ends that count, but middles, twists in the path. Something ‘new’ could materialise at any point like a whirlwind twisting down a rocky path; yet this thing exists within certain pre-determined parameters that limit the form produced: wings, thorns, horns, branches, strata, contours, twists, plaits, peaks, valleys, fluids, lichens, mosses, clouds, rocks...

 

‘...every figure of space is but the result of the intersection by a plane of some corresponding figure of one more dimension... and so on up to the dizzy and reachless heights of archetypal infinity. The world of men and of the gods of men is merely an infinitesimal phase of an infinitesimal thing.’[2]

 

[1]Deleuze, Gilles & Guattari, Felix  A Thousand Plateaus - Capitalism and Schizophrenia (Athlone, 1988) pp.250-251

[2] HP Lovecraft  Through the Gates of the Silver Key in The Dream Quest if the Unknown Kadath (Ballantine, 1970) pp.217-218