AI Insepction II Beside A Cold Statue

/\\//\\\////\\/////\\/////\\////\\////\\\\/////////\\\\////\\/////////\\\////\\///\\///\\\////\\/////\\/// \\\//\\/////\\/////\\////\\\////\\///////////////////\\////\\////////\\\\////\\///\\///\\/////\\/////\\/// \\\///////////////\\\////\\/////\\\////////////////////////\\////\\\\\\///////////\\////////////////\\\/// \\///////////////\\\/////////////////////////////////////\\\\/////\\\\////\///////\\///////////////\\\//// The from the Beside \\/// / / / \a\Cold \ \ /Statue //\\\\/////////////////////////\\\\\\//////\\\\ / /ascent ///// / / /the / /human \ \ \ \ /body / / /to /\ \ \work / / /of / /art / \and \ \ \from / / /the \ \work \\///// \\/// /// /\\\\\\\\\//////////////////\/////\\\\\\\\\\/////\// / \to \ / / /Idea / / / / \ \take \ \ / / / / /under \\\/ / /shadow / / / / \ \ \ \ \whip. \ \ \1 \ \ / / / / / / of/ the Amy Ireland \//// /// ///\\\\\///////////////////\\/////\\\////\\\\/////// /art \ \ \ \the \ / / / /must / \ \ / / /place //\\\\\/ / / / / / / /of/ the \\\\\\//////// ///////////////////////\\\\\\\/////\\//////////////\///////////\\\\///\\\/////\\\///////////////////////\\ / / / / / \ \ / / / / / / / / / / / / / / \ \ \ \ \ \ \ \ / / / / / / \ \ / / / / / / / / / / / / / / / / / / / /It / / /understood / / / / \ \ \ / / the / \ \ \ / /are / / / / / / / /to/play / / \ \ / /on / / / / / / / / /Mys////\\\ / / / / \ \ \ / / / / / / / / / / / / / \ \ \ \ / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / / / / is / / / / / / / \ \that \ / / \ \gods / / / / /obligated / / / / / / / / / \jokes \ \ / / /humankind. //////////\\\/ / / / / \ \ \ / / / / / / / \ \ / / / / \ \ / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / /ticism, / \ \ \ accordingly, / / / / / \ \ /is/nothing \\\// / /a/kind /// / / / \ \ \ / / / /is/not / /to \/ ///\\\// if / not of/humour—which demean / \ / / / \ \ / / / / / / / \ \ / / / \ \ \ / / / / / / / / / / / / / / / \ \ \ / / / \ / / / / / / \ \ \ \ \ \ \or \ \ \ / / /mysticism / / / \ \ \ / /much \ / / / / / /demonstrate //////// \ \complexity \////// \ \relation ///\\/// the of\ \ \ / / / \ \ \ / / / / / / \ \ / / / / \ / / / / / / / \ \ / / / / / / / \ \ \ \ \ \ \ \ / / / / / \ \ \ \ \ \ \ \ \belittle / / / / / / / \ \ \ so / / / / / /as/to /\////\\// /\\////// /its \\////\/// \ \ \ / / / \ \ \ \ / / / / \ \ \ / / / / / / / / / / / \ \ \ \ \ / / / / / / \ \ \ \ \ / / / / / / / / / / \ / /to / /formal / / / /law. / / /Like / / epistemology, / / / / / / / / \it\inclines \ / / / \towards \ \ / / \de-sensualisation—rig\\\/////\\\/////// /\\////\\\\\///\\\//////////\\\\\\/////////////////////////////////////////\\\/////\\///\\\\\\///\\\////// or/the pursuit a/ perfect evacuated / \ \ / / / / / \ \ \ \ / / / / \ \ \ / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / / / / / /orous / / / /asceticism \\///// /// / / / \of \/ / / / /model, \\/// / / \ \ \ /of / /the / /empiri\\\///// / \ \ / / / / / / / / / / / / / / \ \ \ \ \ \ \ \ \ / / / / / / / \ \ / / / / / / / \ \ / / / / / / / / / / \ \ \cal / / contingency / / \ \ \ / / /that / / /both / / /identify / / \ \ /with / / /desire. /\\\/ / /it/is/ / / / in / /such / / /a/state \\\\\\\ For only \\\///////////////\\\\\\\\///////\\///////\\\\\/\\\\///\\\////\\\//////\//\\\/////\\////////////////\\\\\\ approached. is/successful \ \ / / / / / / / / / / \ / / / / / / / / \ \ \ / / / / / / / / / \ \ \ / \ \ / / / / \ \ \ \ \ \ \ \ \ / / / / \that \ / /the / /Idea / \ \may \ \ \be \\ \ \ / / \ \ /When / / / /the \ \mystic \//// / / / / / \ in / /obtaining //////\\\ \ / / / / / \ \ / / / \ \ \ / / / / / / / / / / / / / / / / / / / / / / / \ \ \ / / / / / / \ \ \ \ / / / / / / \their \ \ / / / / / \ \however, \\\\\\//\\/// \ \ \of // / / \ \ / /inversion. /\\/////////// by/ a/ humorous / / / / / / \ \ / / / / \ \ / / / / / / / / / / / / / \ \ / / / / / / / / / \ \ / / / / / / / / / / / / / / / / \ \ \ / pleasure, / / / / / / / \ \ / / /it/is/always \\\// /way /\/// / / / \ \ / / / \ \ \ / /Renun//////// ciation of the empirical brings forth empirical delirium, and Idea / / / / / \ \ \ / / / / \ \ / / / \ \ / / / / / / / / \ \ / / / / / / / / / \ \ / / / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / \ \ / / / / / / / / / / \ \ \ / / /the /\\ / / is / \mo\///// / / / / / \ \ / / / / / \ \ \ / / \ \ / / / / / / / / \ \ / / / / / / / / / \ \ / / / / / / / / / / / / / / / / \mentarily \ / / / / /secured / / / / /in // / / / / / \ \ / / / / / / / / / \ \ \ / / / / / \ \ / / /\\///// the hallucinatory maelstrom of ecstatic trance —made ///\\\\/////\\\//\\////////\\\//\/////\\////////\\//////\\///\\\\\///////////////////\\\//////\\///\\///// \ \ \ \ \ \ / / / / / / \ \ / / / \ \ / / / / \ / / / / \ \ \ \ \ \ / / / \ \ \ / / / / / / / \ \ \ \ / / / / \ \to \ /appear / / \ \ via \\\ \ \subversion / / / / / / /of/the / / /very / \ \law \ \it\instantiates. \ \ / / / / / /So / \it\was / / /when \\////\ the \ \ \ \ / / / / / / / / \ \ / / / \ \ / / / \ \ \ / / / / \ \ \ \ / / / \ \ \ / / / / / / / \ \ \ / / / / / / \ \the / / / / / / / /oracle, \ \ \ \ / / / / /a/haze / / / / /burning \ \ \ \ \ \ / / / / /and / / \ \ \ /vapours, //\\///\\ / / / / / / / / / / / \ \ \ / / / \ \ \ / / / \ \ \ / / / / / / / / / / \ \ / / / / / / / \ \ \ / / / / / / / / / / / /Delphic / / / / / / / \ \amidst \ / / / / / \ / /of / / / / / / /oleander / / / / / / / /rising \\////\\////\ / / / / / / / / / \ \ \ \ / / / / / \ \ / / / / \ \ \ / / / / / / / / / / / / / / \ \ / / \ \ \ / / / / / / / / /bequeathed / / / / / / / /to/the //\ \ \ / / / \ \of \ /Apollo / / / /the / /infamous / / / / / /maxim / \ \ \Know \ / / /thyself. /\\\//// worshippers /////////\\\//////\\\////\\\/////////////\\//\\/////\\////////\\/////\\///\\\//////////////\\\//////\\\/// In this ancient precept, science and mysticism converge, but in a strange ///////////////////\\\////\\\///////////\\\//\\\///\\\\///////\\/////\\///\\/////////////////////////\\\// / / / / / / / / / / / / / / / / / / / / \ \ / / / / / \ \ / / / / / / / / / / / \ \ / / / / \ \ / / / / / \ \ \ /manner / / / / \that \ \ /entails / / / /the / / perversion / / / \ \ / /of / /both / / /as/ law: / / /the / / god / / /of // / / / / / /only //\\// formalism \\\\\\///////\/////////////\\/////////\\\\////\\\/////\\\////\\//////////\\\////\\\\\\\\///////\////////// speaks through empirical delirium. \\\\\\\/////\\\////////////\\////\\\\\\\\//////\\//////\\////\\/////////\\\////\\\\\\\\\\/////\\////////// /////\\\////\\\////////////\\////\\\\\\////////\\\/////\\\// / \ \ / / /II/negotiates ///\\\\ / /double / / \ \perversion \ / / / / / /in\order \ \ / /to/dramatize /\\//// ////// Inspection this both //////\\\///\\\//\\///////\\\//////////////////////////\\\///\\\/////\\\\/////\\////////\\\///\\///\\///// and global impossibility Pythian imperative. / / / / / / / \ / / / / \ \ \ / / \ \ / / / / / / / / \ / / / / / / / / / / / / / / / / / / / / / / / / / / / \ \the / / /local / / \effectivity \////// \ /the /// //// / / / / / / / of / /the /\/ ///\\ ///\\///// / / / / / / / / / / / / \ \ / / / \ \ / / / \ / / / / / / / / \ \ / / / / / / \ \ / / / / / / / / / / / / / / \ \‘Inspection’, / / / / / \ \ \ / / /all, / / / / / / /an // / /of/looking / / / / / / / / / /a/process / / / \ \ / / \ \ \to //\\/ act / \ \ / / / / / / / / \ \ \ / / \ \ \ / / \ \ \ \ / / / / \ \ \ \ / / / / / \ \ \ / / / / \ \ \ \ / / / / / / / / / / / / / / \ \after \ / / / /denotes /////// / / / / / / \ \inwards, / / / / / / / / \ \ /attuned //\\///\\\ goal nominated / \ \ \ / / / / \ \ \ \ \ / / / \ \ \ / / / \ \ \ \ \ \ \ \ \ \ / / / / / / \ \ / / / / \ \ \ \ \ \ \ / / / / / /the //\ / /of / /understanding \ \ \ / / / / / /the / \internal \ \ / / /machinations / / / \ \ \ / /of/the /\\ \ \ \ / / /object, \\////\\ / / \ \ / / \ \ \ \ \ \ / / / / \ \ \ / / / / / \ \ \ \ \ \ / / / / / / / \ \ \ / / / \ \ \ / / \ \ \ \ / / / / /which / \ \ \ / / / / \ \ / / / /the \\\ \ \ \ \ \ /subject. / / / / \ \ / / \ \ \ \ \and \ / / /if/to\ward \/////\ inspecting / / \ \ / / / \ \ \ / / / / / / / \ \ / / / / / / / / / / / / / / / / / / \ \ / / / / / \ / / / / / \ \ / / / / / / \ \ /is/simultaneously ////////\\\\ \ \ \ \ \ \ / / / / \Significantly, \ / / \ \ \ \ / / /as ///\\\///// / / \ \ / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / \ \ / / / / / / / / / / / / / / / / / /off \ \ in \ /advance / / / / /a/ limited, / / / \ \anthropological / / / / / / \ \ / /interpretation //\\///// / / /injunction / / / / \ \to ///// of/the / / \ \ / / / / / / / / / / / / / / \ \ \ \ \ / / / / / / / \ \ / / / / / \ \ \ / / / / / / / / / / / / / / / \ \‘know \ \ / / / / / / / the ////// / / / / a/ / / / of ////\\/ / / / / / / / / /It/is, // \\\\\// invokes kind disinvestment. above / / \ \ / / / / / / \ \ \ / / / / / / \ \ \ \ / / / / / / / \ \ \ \ / / / / \ \ / / / / / \ \ / / / / / / \ \ \ \ \ / / /thyself’, / / \ / / / / /title /// ////// / / / /clinical //\\/ ////\\\///// //\\\\/ / \ \ \ / / / / / / \ \ \ \ / / / / / / / / / / / / \ / / / / \ \ \ \ / / / \ \ \ / / / / \ \ / / / / / / / \ \ /all, / /cold. / / / Affect, \ \ \ / /psychology, / / / / / / /empirical / / / / / /contingency, / / / \ \ \ / /and / / desire / / \ \ are \// ///////// nominally /\\////////\\\///////////\\\/////\\\///\\\///\\\//////////////\\///\\/////\\\//////\\////////\\\////////// \\\/////////\\\//\\//////\\///////\\////\/////\\//////////////\\///\\\\\\\\\\/////\\\/////////\\///\\///// \\///////////\\//\\\\\\\\\\///////\\\/////////\\\///////\\////\\////\\\\\\\//////\\\//////////\\\//\\\\\\\

/\\//\\\////\\/////\\/////\\////\\////\\\\/////////\\\\////\\/////////\\\////\\///\\///\\\////\\/////\\/// \\\//\\/////\\/////\\////\\\////\\///////////////////\\////\\////////\\\\////\\///\\///\\/////\\/////\\/// \\\///////////////\\\////\\/////\\\////////////////////////\\////\\\\\\///////////\\////////////////\\\/// \\///////////////\\\/////////////////////////////////////\\\\/////\\\\////\///////\\///////////////\\\//// Timbre, Idea in/relation expelled as/to a/ delay, \\/// / / / \ \from \ \ /the / /process, \ \ \ \ / /but / /only / / /so // / /bring / / /them / / / /back / / /at/ / \ \ \and \\\//////\\\\ / / / / then, / / / /occupies / / / / \ \the \ \position / / / / / of \ \the \// /// \ \ \ \ /to / /the \ \sonic \\///// \\/// / / more / \ \ \ \ \ \ \ \ \ / / / / / / / / / / / / / / / / / / \ / / / / / \ \ \ \ \ \ \ \ \ \ / / / / /field—it \////\ \ / / / / /this / / \ \ \whilst \ / / / / / \ \ \ / / / /being ///\\\\\\\\\ \////// organises within all/ \//// /the / / / / / \forcefully. \\\\///////////////////\\/////\\\////\\\\////////\\ \ \ \ / / / / /field \ \ / / / / /simultaneously \ \ \ \ \ / / / / / / / /ungraspable /\\\\\\/ /////// computational and / / / / / / /Hecker / / / / uses //// / / / / / / / / analysis \\\\\\ \ /resynthesis / / / / \ \ /techniques / / / / / / /for / / the / / / / \ / / / / /it. / /In/the / / Deleuzean / \ \ \ \ / /reconfiguration / \ \ \ / / / / /of \ \the \ /transcendental / / / / / / / / /project, / / / / /it/assumes ///////\\ ///// \ \ / / /of/ /producing / / / / / / / / / \material \ \ \ \ \ \ \ /focuses / / / / / \ \ /auditor / / / / / / /the / / / / / / / / / / / /the /// / / / /of\the \\/ / / \ \ \ /Its/ / / / / / / / / /indeterminacy //\\///// / / / /both //////\\\ status ‘problem’. determinable haunts purpose ////\ \ \ / / / / / / / / / / /sonic / / \ \ \ \ / / /that / / / / / / / / the \ \ \ / / / / /on / / / /gap ///////////// /////\\\ //\\//// //////////\\\//// / / / / / / /sci//\\\/ ////\ \ \ / / / / / / / \ \ / / / / \ \ / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / / / \ \ \ / / / / / \ \ / / \ \ \ / / / / / / / / / / / / / \ \ \ / / / / / / / \ ////\\\// entific analysis and phenomenological reception, prolonging the interminable between the ways in which sound can be formally modelled, and the phe/\/// \ \ / / / / / / / \ \ / / / \ \ \ / / / / / / / / / / / / / / / \ \ \ / / / \ / / / / / / \ \ \ \ \ \ \ \ \ \ / / / / / / \ \ \ / / \ / / / / / / / / / / / / / / \ \ \ / / / / / / \ \ \ / / /\\/// of/the The nomenological as/it/is heard \\/// \ \ \ / / / / / experience / \ \ / / / /of \ /sound //// \\ / / /by / /embodied / / \ \ \ \listeners, \ \ \ \ / /nec/ / / \ \ \ \ \ \ \questioning \\////// \ \ ontological \ / / / / / /status / / \ /of / /the / \sound-object. \///\\/// / /application / / \ \ / / /of /\/// \\\// / \ \ \located \ / / / /at \\ \ / / / coordinates / / / / / / / /in\space \ \ \ \and / / time, / / / /and \ \subject \ \ \ / /to/ the / / / / / / / \ / /analytical / / / / / / procedures //////// / / / / /to \ \extract \ / / / \its \ \necessity / / \ \ \ \only / / /exacerbate / / \ \ \ / /its ///// designed essarily specific /\\////\\\\\///\\\//////////\\\\\\/////////////////////////////////////////\\\/////\\///\\\\\\///\\\////// of/Inspection complexities of/memory pieces /\\// ///\\\\/ / / \ \ \ /and / /attention / / / / / /that / / /listening / \ \ \ / /entails. / / / / As / / his /// / / / / / / / / / / /contingency. / / / / \ \ / /Herein / / / /lies / / the / / /drama /\\/ / / / / \ \ II. / /What—coldly—is / / / \ \ \ / / / / /timbre? \\\///// /\\// / / /the /// ////// \ \ \ \ \these \ \ \ \two / / /states / / / /something \ \ / / / / fleeting / / / \ \ appears, //////////\\\/// / \composition \ \ / / / / / /of / /the / /piece / \ \ /recurses / / / / \around \ \ / / /this /// ////// / / \the \\\\\\ The question. Here, make transition between \\\///////////////\\\\\\\\///////\\///////\\\\\/\\\\///\\\////\\\//////\//\\\/////\\////////////////\\\\\\ is\cast an/ \ ambiguous role: included, provisionally, emphasising but it \hap\\/// / / / / / / /neither \ / / / /content / / / / \nor \ \form //// / /the / /synthesis / \ \ \ / \of \ /sound / / / \as\ \ \ \ \ \ \ / / / / \human \ / / / /auditor /\\\\ \ \ \in\ / \/////\ \\/ ////// / / / \ / / / /in/the ///\\\ \//// / \ \This / / /vanishing \ \ \ / / /quality / / / /is/commonly /////// / / / / / / /as/timbre, \ \ \ / /an // / / \ \ \ \ / / / / / / \capacity \ \ / / / /of/having \ \ \ \inspired \ \ \ \ /the /\\ / / / on / \which \ \ / /its / /mathematical / \ \ / / / \ \template ////// ///// model for pens. understood inherently //////\\////\\/////////////\\/////////\\////////////////\\\////////\\/////\\\////\//////\\///\\\///// ///// machine audition is based, and as the ostensible recipient of the piece, but cryptic evades ///// \ \ \ /aspect / / / \of \ /sound / / \ \that /// / / / /definitive / \ \ / / /attribution / / / / / /to \ \either / / / /objective, ////////////\\\////////////////\\//////////\\\////\\///\\///// ///// \ \ / / / / / \ \ \ / / \ \ / / / / / / / / \ \ / / / / / / / / / \ \ / / / / / / / / / / / / / / / / \ \ / / / / / / / / / / / / / / / / / \ \ / / / / / / / / / \ \ \ / / / / / \ \ / / / \ \ ///// modelisable subjective ///\\ \ \ / / / / /features \ \ \ / /or \\ / / / / / /experience. / / \ \ \ / / \ / / / / / \ \ / / / / / / / / \ \ / / / / / / \excluded \ / / / \ \from \ \ \the / /structural / / / / / /auto-affectivity / / / / / / / / / /of/its \ \internal \ / / / /drama / / \ \as/it / spirals /\\///// \ \ \ \ \ \ /Timbre, ///// \ \the / /human / \ \ / listener, ///\// / \ \ \ \and \ \ /spontaneously / / \ \ \ / / / /explained / / / \ \ \ \ / / / / \ \through \ / / / \successive \ \ \ \ \ \ /stages / / / / of / /computational / / / / / \ \ \ \analysis \ \ \ / /and / /material / / / \ \ resynthe///\\////\ for is/typically \\\\/ // / /notion ///\\/ / / \ \In / / / \ \ \ /music / / / \ \ \ \ / it // \ \ \ to / / / / difference / / / \ \ \ / / / / / / \ \ / / /This /// / / \ \ \procedure \////// / / /place / / \ \ \ \ \ \ times / / / / / / /before \\\// \ \of ///\\ iterative takes a/ via the source. refers ///// // / / / / \ \of \/ / / \ \ \ /classical / / \ \ \ / / / /theory, ////// \ \ / / /the / / / / \ \ \ / / / / / / / / /sis. ////// ////\\\///// \ / / / / / /several / / / / / / / /over ///\\/// /set \\////\ ///// / / / / \the \ \ same \ / / /pitch / / \played \//// \ \ / / / /instruments. / / / / / / / /This //\ \ / / \ \ \ / / / / / / / / /inputs / / / /is/ abandoned / / / / / / \and \ \ /fresh / / \material \ \ / / /is/subjected / / / / / /to / /sonic / / \inspection. \ \ \ / / / /What \\\//// between on\ different classification /////////\\\//////\\\////\\\/////////////\\//\\/////\\////////\\/////\\///\\\//////////////\\\//////\\\/// being is/troubled by/ the ///// / / / / /in / /the / /era / / of / /electroacoustic \ \ \ / / / / \ \ \composition //////// / / \persistence \ \ / / \ \ \of / / / \ \ \ \ / /is // / / /heard, \ \ / /effectively, / / / \ \ / /is/the \ \phenomenon / / / / / / / /of / /sound / / / /listening / / / / /to/ itself. / / / /The /\\\// ///// / / / /automatisms—the / / / / / / / / / / / \tendency \ / / / / /of\the \ / /listener ///// / / / \ \ /a /source / / \ \to / / / / / \ \ \ /human ////\ \ \ / /is/still /// / / / / \ \in/the / / forced ///// ////// / / / / /but / / is // //\\// auditor implicated reflexivity of/sensing, kept timbral to/attribute \\\\\\///////\/////////////\\/////////\\\\////\\\/////\\\////\\//////////\\\////\\\\\\\\///////\////////// at a distance, exiled from the process as the piece contemplates and refigsounds attempts \\\\\ \ \ / /that / / /are \ \wholly \ / / /synthetic. / / / / / / Despite / / / \ \continued ////\\\ \ \ \ \ \to / /analytically ////\\//////\\////\\/////////\\\////\\\\\\\\\\/////\\////////// ///// \\\/ / / \ \seems \//// ///// / \ \ / /ineffability, / / \ \ \ \ \escaping \ / / / / /the / /ever/ \ \ \ / / / / / \ \ures \ / /itself—according / \ \ / / / / / / / \to \\ \ /idiosyncrasies / / / \ \ \ / / /of/human / / \ \ \audition, / / / / \but \ / /without //////// the model it,/timbre to/exhibit a/ stubborn //////\\\///\\\//\\///////\\\//////////////////////////\\\///\\\/////\\\\/////\\////////\\\///\\///\\///// neurobiological keener of\computational ///// / / \ /grasp ///\ \ / / \ \ / / / /technique / / / / \ / while / / / /listeners / / / / /consistently / / / / / / / /attest / / / / / / / / / \ \their //// / \ \ / / / / / /substrate. \ / / / / /Anthropic / / / / / / auditory / / / / / /introspection / \ / / / / \ \is/stripped //\\///// ///// / /sensual / / / / \ \ / / /It\increasingly \ / / / \ / / / / / / / /to\ be \//// //\ \ / the / / / / / / / / / / / / / \ \for / / / / / \and \ \ / / / / / in / / / / / /of/an ///////// / / /alien /////\\//\\\//\\/ more to/ case that /\\// /its / / / / / \ \reality. \ / / \ \ \ / / \ \ \ \ /appears / / / \ \ \ \ /the /// /\\ \ / / / /inability \ \ \ \ / / / / / / / / / /parts / / / / \ \shelved, \ / / / / / /favour / / / / / / /altogether ////\\/ / / / / / /operation. /\\///\\///\\\ The auto-affectivity is \constituted use a //\\ to/comprehensively model timbre a /simple of/information, /\\\/ //\\\\\///\ \\// / \ \ \is\not \ \ due \ \ \to \/ / / / /lack \\/ //\\\\\\\////////\ / /eerie //\\ \ / / / / / / / \of \ \Inspection / / / / / / II\ \ / / / / \ \ \via \ \the /// \ \of // //\\/ / \ \ \ \ \ \ / / / / \ \ \ / / / / / \ \ \ \ \ \ / / / / / / / \ \ \ / / / \ \ \ / / \ \ \ \ / / / / / / \ \ \ / / / / \ \ / / / / \ \ \ \ \ \ \ \ / / / / / \ \ / / \ \ \ \ \ \ / and / / /freezes \\/////\ time-frequency scattering algorithm which effectively delocalises the rectification of which would one day see timbre yielding its mysteries up //\\///\\\///////\\//////////////////\\/////\/////\\//////\\//////////\\\\\\\\\\////\\//\\\\//////\\\///// //\\/ / / / / / /apprehension, /////\\\/ / /is/rather / / / /the / / result / / / /of / /an/ intrinsic, \ \ / / / /ontological / / / / / / / / / / / / / /the \ \ \electromagnetic / / / / / / / / / /information \ \ / / / / / /of\ its—necessarily \ / / / / \ \ / / / /temporalized—sonic /////////\\///// to/scientific but //\\/ / / / / / / / / / / / / / \ \ \ \ \ / / / / / / / \ \ / / / / / \ \ \ / / / / / / / / / / / / / / / \ \inputs \ \ / / / / /a/mathematical / / / / / / / / / / / / / /of / / / / /invariant \\//// / / / / /In ////\\\\\// features. unknowability. //\\/ / / / / / \ \ \ / / / / / / \ \ \ \ / / / / / / / \ \ \ \ / / / / \ \ / / / / / \ \ / / / / / / \ \ \ \ \ / / /into / / \ / / / / / / / / / snapshot / / / / / / / /their ///\\//// / \ \ \ / / /obtaining ////\\\\/ / \ \ \ / / / / / / \ \ \ \ / / / / / / / / / / / / \ / / / / \ \ \ \ / / / \ \ \ / / / / \ \ / / / / / / / \ \ /the / / /model—formal, / / \ \ \ / / / / ascetic, / / / / / and / / /emptied / / / / /of / \the \ \sensual, / / / / /empirical / \ \ \ / /variation ///////// /\\////////\\\///////////\\\/////\\\///\\\///\\\//////////////\\///\\/////\\\//////\\////////\\\////////// \\\/////////\\\//\\//////\\///////\\////\/////\\//////////////\\///\\\\\\\\\\/////\\\/////////\\///\\///// \\///////////\\//\\\\\\\\\\///////\\\/////////\\\///////\\////\\////\\\\\\\//////\\\//////////\\\//\\\\\\\

/\\//\\\////\\/////\\/////\\////\\////\\\\/////////\\\\////\\/////////\\\////\\///\\///\\\////\\/////\\/// \\\//\\/////\\/////\\////\\\////\\///////////////////\\////\\////////\\\\////\\///\\///\\/////\\/////\\/// \\\///////////////\\\////\\/////\\\////////////////////////\\////\\\\\\///////////\\////////////////\\\/// \ \ / / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / \ \ \ \ / / / / / \ \ \ \ / / / / \ / / / / / / / \ \ / / / / / / / 2/ / / / / / / / \ \ \ / / / / synthesis terms. that \\/// / / listening, / \ \ \ \ /and / / \indeed \ \ \ / time, / / / /entail—paradoxically, / / / / / / / / / / / / /two / / /discrete / / / / \sorting \ \ \ \ \ / / / / / / \between \ \ \ / / /analysis / / / / /and /// / \ \ \ \ /in/psychoanalytic ///\\\//// / / \ \This \ \ /is/ not, / \ \how\\///// \\/// / / / / \ \fundamental \ \ \ \ \ \ \ / / / / / / /human / / / / / / / / / are //\ /////\ \ \ \ \ \ \ \ \ \ / / / / /ever, \ / / / / \ \ interpreted ///////\ \ \ / / / / / \ \the \ / / / / / / of / \ \ \ \ \ \ \Hecker’s \\\////// as\ operations exploited: a frequency \//// / / / / / / \ \ \ \ \ / / /to/‘natural’ / / / / / / / / / audition //////\\ /////\ \ \ / / / / \ \ \ \ / / / / / / / /to\ be \\\\/////\ \ compromising / / / / / \ \ \ \ \ / /regime / / / / / /coldness /\\\\\\//////// analysis emulates ///// / / / / /that /// / / / / /the / / /function / / \ \ \of \ \the \ \cochlea / / / / /as \ \it/separates / / / / / / out / / /high / / / / \ / / / / /procedural / / / / / / \fastidiousness \ \ \ / / / \ \ \has / /installed. / / / \ \ \Mackay’s / / / / / /decision / / / / /to / /tilt / /the / /recon//////\\ ///// \ \low / /frequencies, / / / / / / / /and / / a/time-based / \ \ \ \ \ \ analysis \ \ / / /that / / /emulates \ \ / / / /the / /function / / / / /of / / / / / / / / /structive / / / / / /enterprise / \ \ \ / / of / \Inspection \\///// / / / / / /the / /arational \\//// / / / / / / /of/the ///\\\ II towards underworld and ////\\\/////////////\\\\///////////\\\///////////////////////////\\\//\\//////////////\\\/////////////\\\/ ////\ \ \ / / / / / / / \ \ / / / / \ \ / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / / / \ \ \ / / / / / \ \ / / \ \ \ / / / / / / / / / / / / / \ \ \ / / / / / / / \ / / / /\\\// psyche, with its extravagant cartographies, unsoundable gulfs, impossible the primary auditory cortex as it processes acoustic variations through time, /\/// \ \ / / / picking / / / / \out \ /those / / \ \elements \ / / / /of / /the / /input / / / that / / /human / \ \ \listening ///\// / / / / \ \ \ \ \ \ \traps, \ \ \ /plot / / /holes, / / \ \lagoons, \ / / \ /and / / /plateaus / / / / /is / /anything / / / \ \but \ / /a /straightforwardly ///\\\///\\/// nominally deems \\///\\\//////\\////\///////\\///////\\\\\\\\/////\\\\\\\\\///////\\\////////\////\\///\\///////\\////\/// \\\// / \ \ \From \ / / this / / \model, \ \ / /a/new / / /piece / / / of / /sound \ \ \ \is\then / / /synthesised ///\\\\\ / / /gra/ / / / / / / \ / /humanist / / / / / /concession. / / / / / / / /It/reprises / / / / \a\ theme \ / / / \close \ \ /to / \the \ \heart \ / / /of / /his \ \work \ / /in ///// salient. using /\\////\\\\\///\\\//////////\\\\\\/////////////////////////////////////////\\\/////\\///\\\\\\///\\\////// a //// dient employed /\\// / / /backpropagation \ \ \ \ / / / / \ \ (a \ /method / / / / /usually ///// / / \ \ \ /for / /training / / / / /neural / / / /net/ / / / / / / / / /other / / / /contexts, \ \ / / / /where / / / /psychoanalysis / / / / \ \ / / / /is/reconfigured / \ \ / / / / /as \ \geotraumatics, \/////\\\/ /\\// ///// / / / / / /a/neutral, \ \ \ \ \noisy \ \ \ \substrate / / / / / /as / \a \featureless / / / / / / /ground \\/// / / / / / / / \ \ \theory ////\ \ \ traces ///// / /psychic / / / / \symptoms \ / / / / / of \ \its \ /patients / / / / /back / / /not / / /to/the /\\ \\\\\ that the inworks), employing from \\\///////////////\\\\\\\\///////\\///////\\\\\/\\\\///\\\////\\\//////\//\\\/////\\////////////////\\\\\\ of\the which the model \\/// //// / /information / \ / / / / / in / /the /\\ \ / / /will / /be / /iteratively / / \ \ \ / reconstructed, \ \ / / / / \ \ \ \with \ \ \ \ \ / / / / \fantile \ / / /vicissitudes //\\\\\\ \ \Oedipus / / \ \ / complex, / / / / \ \but \ /to / /the / /formation / / / / / \of / /the / /Earth ////\\\ \//// / \ \ / / /refinement. \ \ \ / / / /Consequently, / / / / / / / / /the / /synthesised / / / / / / / /product \ \ \ / /has / /no / /defin\ \ \ \ / / / / / / \itself, \ \ / /and / /thus / \ \to \\ \originary \ \ \ / / \trauma \ / / /of / \terrestrial \ \ / / / /cooling / \ \ / and / / \stratification. \ / / / / / / /3 / / / / an increasing //////\\////\\/////////////\\/////////\\////////////////\\\////////\\/////\\\////\//////\\///\\\////////// geological (Inspection II’s itive external features ///// \ \ material \ / / / / \origin \/// \ \ / / /to/ computation, / / / / \ \ / / /and / / any / / /timbral /\\// / / / / /that / / / / / / / / / \Traumatic \ \ / / / / repression / / / / / / /is/read, / / /literally, / \ \ / /as // / / / / / /encryption \\\//// \\///\\ ///// ///// \ \ /obtain / / / / will \ \ \have / / \been \ / /procured / / / / / /in\excess \ / / / /of/what //// \represented, \ / / / / / / /ana/ / / / / / / / / \analysand \ / / / / / /reminds / / / / /us / /that /// / \ \ / / /of // / / / / \ \ and \ / /encryption / / / \ \ / /are / \not \///// ‘functions expression might is ///\\\\/////\\\//\\////////\\\//\/////\\////////\\//////\\///\\\\\///////////////////\\\//////\\///\\///// \\\\\ \ / / / /in/the / \ \model. / / / \The \ / /inspection, / / \ / / / /then, \\\\ \ / / /interior \ \ \ / /to / /synthetic / / / \ \ \ \ / / / / \ \entirely \ / / / \distinct’) \\\\\\ / /boring / / / /through / / / / /the / \strata \ \ \ \constitutes \ \ / / / / /an / /act \ \of/ psycho//\\////\ and lytically, is\wholly \\\\/ / / / /Because / / / \ \ / /is/effectively \ \ / / / \ \ \ / / / /to—and \\\\///\\\///////\\\ / / / / / \ \ / / / / /decryption—‘[t]ake ///\\\\////// / /diametric ///\\\\\\// / /impacted //\\\///\\///\\ the of/ sound. it/ ///// / / / / / / \ \ \ it / / / \ \ \ / / / \listening \ \ / / / / / / / / /resynthesizing—itself, /\\///////\\\/ / / / / / / / /analytic //////////\\\///// \ / / / / / / /section ///// /an / / / / \ \ / /distance, //\\////\ ///// ////\\ \ \ /features / / / / \ that \ / /a/ human / \ \ \ /auditor ///// //// / / / /hear \ \ /or / \would \ \ / / / / / / / / /and / / /plot / /a/crossing’. / / / / / \While \ \ / /Hecker / \ \ \propels / / / / /the / /injunction / / / / / /of / \the \ \Delphic \//// \\\//// oracle produces sonic either cannot /////////\\\//////\\\////\\\/////////////\\//\\/////\\////////\\/////\\///\\\//////////////\\\//////\\\/// forwards into a speculative future of self-determining machinic auto-resynnever anticipate. To further compound the absence of any natural origin, the ///////////////////\\\////\\\///////////\\\//\\\///\\\\///////\\/////\\///\\/////////////////////////\\\// ///// / / /material / / / / /in/Inspection / / / / / / \II\consists / / / / /of \ \Hecker’s / / / / /own / / /work, / / / \which \ / / /is/to\ say \ / / / / / \ \ \ /thesis, ////\ \\/// / / / it // / / \ \ / /into / / /the / /deep //// / / / /of // /////////\\// Mackay draws backwards history matter. input \\\\\\///////\/////////////\\/////////\\\\////\\\/////\\\////\\//////////\\\////\\\\\\\\///////\////////// Accordingly, the libretto is stubbornly bereft of traditional markers that what is analysed and synthesised is already synthetic. Thus the struc\ \ \ \ \ \ \ / / / / / \ \ \ / / / / / / / / / / / / \ \ / / / / \ \ \ \ \ \ \ \ / / / / / / \ \ / / / / / / \ \ / / / / \ \ / / / / / / / / / \ \ \ / / / / \ \ \ \ \ \ \ \ \ \ / / / / / \ \ / /of/emo/////// ///// \ \ \inexpressibility / / / / \ \ \ / /of / /timbre / / / /is / /doubly / / \ \reinforced. / / / / \ \ \Firstly \ \ \ / by / / its / /distance / / / \ \ \ / / / / / \ \tional \ / / /intrigue, \ \ / / /and / / /the / \instructions \ \ \ / / / / \given \ \ /by / /the /// \ \ \ / / / / \ \ / / /in/ / ///// projector—standing for tural //////\\\///\\\//\\///////\\\//////////////////////////\\\///\\\/////\\\\/////\\////////\\\///\\///\\///// analytical moment process—are from by/the resynthesis ///// / / \the / /unnatural / / \ \ \ /‘source’ / \ \ / /material, / / / / /and / \ /secondly ////// /// / / / / / / /of/this / / / / / / / / \ \the /// //\\// / / / / \in/Hecker’s ////// / / / / / / / /by / /turns / \ /technical, / / / \ \ /geomet//\\///// ///// / / / / /in/response / \ \ / / / \ \the / / / \ /model. / / / / / / / \ \haunts ///// / \piece \/// / / / / / / / / / / \ \rical, //// / \ \ \ / /and / / / / / / / / / /cruel. / / / / / / /operate //////////\\ / / \which \\//\\/ geological, from material the as/ /\\// / / / / / / \ \ \ / / \to \ \ / /new \ \ \ \ / / / Timbre /\\\\///// \\\/// /a\ tran\\\//////////// / / \ \ \ / / / /persistently / / / / / / / / / / /They / / \ \ / / / /as/ rulesets ///\\/ //\\///\\\ equally scendent /\\\/ / / / \ \ Idea \ \ \that / / /both \ \ \structures / / / \ \ \ \it\and \ \escapes \ \ \ / / it. / / / / \ \ / / / / \ \ \ \ \ \ \ / / / / / /the //\ / / / /affectless \ \ \ / / /analysand—standing / / / / \ \ \ / / / / / /in\ for \ \ the / / /moment / \ \ \ \of \ algorithmic ///\\////\\ / / \ \ / / \The \ \ \ \ \ / / written / / \ \ \ / /Robin / / / \ \ \ \ \ \ / /dialogue /////\\\///\ \ / un/ \ \ \ \ / / / / / / \ \ \ / / / / \ \ / / / /begin \ \ \ \ \ \ \ \ /to / / / / \ \ /the /\\ \ \ \ \ /resynthesis, ///\\/////\ required in\ / / \ \ / / / \ \ libretto, \ / / / / / / / \ \by / / / / / /Mackay—a / / / / / / / / / / / / \delivered \///// \the / / / / / \ \ / / / / /reconstitution—must / \ \ / / / / / / / / / / \ \ \ \ \in\order \ \ \ \ / /perform //\\//\\ \\//////\\\///// //\\/ //// / / / / /intonations ///\\\/ / / / / / /and / / /an/‘analysand’ / / / / \ \ /who / / /is/‘instruct/ / / / / / / / / / / / /under \ \ \ /pressure ////// / / /an\ \ ///// / \ \ /force / / / \that \// / / /imperious / / / / / /and /\\ ///// from obscure outside is/both incanny, inhuman of/a/‘projector’ //\\/ / /work / / / / / / / / /a/series \ \ \ \ \ /descriptions / / / / / / \ \ / / / / / \by \ \ / /projector / / / / / / / / / / / / / \ \accessible. \ \ / / / / / / / / / /then, / / / / / / /the /// / / /relationship / / \ \ / / / / /the ////////\\\\\// same ed/ //\\/ / to / / / / \ through’ \ \ / / / / / / \ \ \of \ / / / / / / / \ presented \ \ \ / / / / \ \the / / / / / \ \ /‘in / / / / / \ \ \ \ \ / / / / / \Trauma, / / / / / / / / /bears ////// / / / / / \ \ / / /to / / \ \psychoanalytic \///////\\\\/ /\\\/ / / /to / arrive / \ \ \at \/ / / / / / /resynthesis’—restages / / / / \ / / / / \ \ \ \ /the / /structural \ \ \ / / /interplay / \ \ / / / / / / / \ \ /enterprise / / / / / \ \as \ /timbre / / / /does / / / to / /the /// / / / /subjugation / \ \ \ / / /of / /sound. /\\\/ //////// formal As/ / Mackay order a/ favourable /\\////////\\\///////////\\\/////\\\///\\\///\\\//////////////\\///\\/////\\\//////\\////////\\\////////// \\\/////////\\\//\\//////\\///////\\////\/////\\//////////////\\///\\\\\\\\\\/////\\\/////////\\///\\///// \\///////////\\//\\\\\\\\\\///////\\\/////////\\\///////\\////\\////\\\\\\\//////\\\//////////\\\//\\\\\\\

/\\//\\\////\\/////\\/////\\////\\////\\\\/////////\\\\////\\/////////\\\////\\///\\///\\\////\\/////\\/// \\\//\\/////\\/////\\////\\\////\\///////////////////\\////\\////////\\\\////\\///\\///\\/////\\/////\\/// \\\///////////////\\\////\\/////\\\////////////////////////\\////\\\\\\///////////\\////////////////\\\/// \ \ / / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / \ \ \ \ / / / / / \ \ \ \ / / / / \ / / / / / / / \ \ / / / / 5/ / / / / / / / / / / \ \ \ / / / / writes elsewhere, the \\/// ///\ \ \ \ / / /‘[t]rauma \ \ \ \ / /is/ an / /epistemological / / / / / / / / / /condition, / / / / / /or // / /condition \ \ \ \ \ \ / / / / / / \‘If \ \I cannot \ / / / /bend / / /the / / will / / /of\Heaven, \ \ \ / /I/shall / / \move \ \ / Hell.’ / / / /Death / \ \ \is\already / / / \ \impli\\///// \\/// / / / \ \ \ \ \itself: \ \ \ \ / /incomplete /////// / /between / / / / / / / \ / site / / / / \an \ \ \ \ \ \ \ \ \ / / / / /cated \////\\/ / / / / /as /\ \ \condition \ / / / / / \ \ necessitates \///////\\\ \ \ \ \ \On \\////// process, the crossing. of/ cut \//// /epistemology / / / / / \ \ \ \ \ / /an ///////// / / / / / / /a/local \ \ / / / /and / \ \ \outside / / / / \ \ \ \ / / / / / / / /in\the \\\ \/////\ \ / / / / / \ \that \ \ \ / / / / / / /the //\ \ \ \ \ \ / /the ////// to\life, that way. It/is/the traces ///// / / has / / /already / / / / /affected / / / / /it/ in / /some \\\\ \\\ / / /introjected \\///// / / / /of/ the / / / / \ / / / / /bank / / / /nearest //\\\ / / /the \ \ embodied \ / / / / / \havoc \ \ / /of/ empirical / / / / / / contingency / / / / / / / /reigns, //////\\ ///// \ \ / / /clues / / / / / / / / / the //\\\\\\\\/ / / / / \ \story, / / / / / / / /at/ / / / / / / / / / / /while / / / / / /the / \ \ \ / / / \shore \\/// / / /representation, / / / / / / / \ \ / / / / as / / / / / /fixes //// \\\ static a/ outside, of/ once ////\ \ \ / / / / / /betraying / / / / / / / \ \emplotment \\////// /a/ deeper / / / \ \ \ / / /which ////// / / / / / / / / / / / / / /on / / / /opposite \ \ \ / / \ \ / / a/ / / / / / / / / / / / \ \ \silent / / / / /death, //////// \\\/ ////\ \ \ / / / / / / / \ \ / / / / \ \ / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / / / \ \ \ / / / / / \ \ / / \ \ \ / / / / / / / / / / / / / \ \ \ / / / / / / / \ / / / / \ \ \// final tableau for each fresh boat of souls as they settle once and for all under provide the constitutive disequilibrium that drives investigation, and promise /\/// \ \possibility / / / / / /of /\ \///\\\ 4 ///////////////\\\///\//////\\\\\\\\\\//////\\\//\//////////////\\\//////\\\///\\/// This ‘constitutive disequilibrium’ is thematised the tyrannical reign of a chthonic sovereign. the knowledge.’ \\///\\\//////\\////\///////\\///////\\\\\\\\/////\\\\\\\\\///////\\\////////\////\\///\\///////\\////\/// \\\// /\\\\//// \ \psychoanalytically \ / / / / / / / / / /in /\ \ \ \ \ / /II/via / /the / \ recurrent \ \ \ \ / /motif ////////\///// ////// / / /externally-oriented /////\\\///\ \ \ / / \‘What \ \ \ /did /// / \ \ \ /that ////// algorithmically and Inspection In/contrast to/the question I hear?’ /\\////\\\\\///\\\//////////\\\\\\/////////////////////////////////////////\\\/////\\///\\\\\\///\\\////// of/‘crossing’, or/‘threshold’ the /\\// / / \ \ \ \ ‘passage’, ////\\\ / / / / / / /between /////\ \ \analytical / / / / / /formulation / / / / / / /of / / / / / / / / /structures / / / / \ \ /Mackay’s / / / / / /2016 / / /collaboration / / \ \ / / / /with / / \Hecker \ / / / on / /FAVN \ \ \ /and / / necessar//\\\///// /\\// / /model / / / /and /// / / \ \ \ \ reformulation \ \ \ \ \ / / / /as / /sound. / \ \ /One / / /envisions / / / \ \ /an / /ana/ / / / / / / \ \ \ily / /places / / \ \the \ /listener-as-subject / / / / / / / / / / \and \ / /the / /material-as-object / \ \ \ / / / / / / /at / opposite / / / / / /poles, \\\\\\\ the its/ synthetic \\\///////////////\\\\\\\\///////\\///////\\\\\/\\\\///\\\////\\\//////\//\\\/////\\////////////////\\\\\\ lyst’s which the each II /is/involutional, in\\/// / / /couch / / / /upon \/// //// / \analysand \ \ / / / /lies / / /prone, / / \ \internalising \/\\//// \ \ \model \ \ \ \ \ \ / / / / \the \ / /traumatic / / / \ \ \elision \ \ \ \of \ \source / / \ \ in / /Inspection ///\\\/ / / / / / / / \spiralling ////// //\\\ \//// / \ \ / /by / \the \ \projector / / / / / /in/order / / / /to/‘extrapolate’ / / / / / / / /a/new / / \‘narrative’ \ \ / / / /concern/ / \ \ \ \ / / / / / / \stead \ \ / /around / / / \ the \ \ \question \ \ \ \ /‘What / \ \ /happened?’. / / / \ \ \ / /6 / / / \ \ / and / / \analysand \ / / / / /are ////// Projector delivered //////\\////\\/////////////\\/////////\\////////////////\\\////////\\/////\\\////\//////\\///\\\////////// a //// ing the their own ///// \\ \ /inscription / / / \ \ / of / /their \ \ /trauma, / / / / /progressively / / \ \ / / / /rewriting /////\ \// / / compre/ / / / / / / / / / / / \not \ \ /discrete / / / / /identities / / / / / /between / / / / \whom \ / / /this / / /infernal / / / / \traffic \ \ / /takes / / \place, \ / / /but \\/ ///// \ \ / / /of/ the / \ \symptoms. \ / / \ \ / /Each / / / internalisation / / / \ \ / / / /occurs / / / / /from \ \ /a/ perspective / / / / / / / / / / / / / / \split \ / /within / / / /the / / /sonic / / /subject / / / / /itself \ \ /as / /both / / /perpetrator / / / \ \ \ / and / / /recipient /\\/// \the \///// of hension ///\\\\/////\\\//\\////////\\\//\/////\\////////\\//////\\///\\\\\///////////////////\\\//////\\///\\///// \\\\\ \ / is / /therefore / / / \ \ /slightly //\\/ / / / \ / /in/relation / \ \ \ \to \ \the / /previous / \ \ \ / /one, / / /and / / the \ \ \ \ / / / / \ \psychoanalytic \///\\\\\\ \//// / /polarised / / / / / agent / \ \ \becomes \ \ \ \ / /the / /pivot / / /of \ \what / / /takes \\////\ alliance: ‘[a] that displaced \\\\/ / / / / /responds / / \ \ / / / \absorbing \ / / / \ \ \ / /novel //\\\\///\\ \ /the /// / / / \ \ \ / / / / / / \ \place’. / / / / / /the / / \ \ \ \ / /presents / / / / / / / /analysand / \ \ \ \ \ \ / /various /////\\\///\\///\\ projector into formulation ///// / / / / / / \ \ \ / /by / \ \ \ / / / \this \ \ / / / /information //////\\ ///// / / \ \ \ / / / / / / / / / / / / /As / / / / projector / / \ \ \ / / / / / \ /the / / / / / / / /with / / / / / / / /representations \\////\\////\ ///// / / following / \ \ \ \ /model. / / / / \ \ / / / / \ \ \ / / / / / / / / / / / / / / \ \ / / \ \ \ / / / / / / / / /of / /how / / /the / /crossing ////\\ \ / / be / \effectuated, \ \ / / / / / /and /// / /analysand / / / \ \ \progressively \////\\\//// might the of/the /////////\\\//////\\\////\\\/////////////\\//\\/////\\////////\\/////\\///\\\//////////////\\\//////\\\/// internalises and reworks them, ghostlike images begin to emerge—faces The process zigzags back and forth across the black waters of a ‘turbid ///////////////////\\\////\\\///////////\\\//\\\///\\\\///////\\/////\\///\\/////////////////////////\\\// ///// / / / / / the / / /infamous / / / / / river / / \ of \ /Hades / / / /on \ \which / / / /the / /ferryman / / / / / \Charon \ / / / carries / \ \ / / / / / \ \ \ /threaten / / / / \ \to\‘rise / / /from / / / the / / /surf’, / \ \tracks / / / /appear / / / / /across / / / /an / /‘unlabelled / / / / / / /profun////\\// Acheron’, \\\\\\///////\/////////////\\/////////\\\\////\\\/////\\\////\\//////////\\\////\\\\\\\\///////\////////// dity’, ‘landmarks’ auto-assemble out of ‘indefinite aggregations’, glimpses out his eternal office, transporting the souls of the newly deceased from the \ \ \ \ \ \ \ / / / / / \ \ \ / / / / / / / / / / / / \ \ / / / / \ \ \ \ \ \ \ \ / / / / / / \ \ / / / / / / \ \ / / / / \ \ / / / / / / / / / \ \ \ / / / / \ \ \ \ \ \ \ \ \ \ / / / / / \ \ / / / / /of ///// ///// \ \ \of / /the //\ \ \ /to / /that / / /of/ / / /dead. / / \ \Indeed, / / / / \the \ \exiled \ \ \ /listener / / / / /is/ quite / \ \ \ / / / / / \ \an \ /unknown / / \ \ / /‘physiognomy’ / / / / / \ \ \ \are / /‘wrested / / \ \ \from / / / caved-in / / / \ \ \darkness’, / / / / \ \and /// ////// a/ bearealm living the //////\\\///\\\//\\///////\\\//////////////////////////\\\///\\\/////\\\\/////\\////////\\\///\\///\\///// ‘in/ the of/homogenous the deliberately between two ///// / / \ / / / /positioned \\\//\\ / / / / /the /// \ /poles / / / /of/ the / / /auto-productive / / / / / / / / / /pro/ / / / / / / / \ \con / / /flickers //\\/ / / /midst /\// / / / / / / / /disarray’. / / / / / /Yet / \everywhere ////\\// / \dis\///// ///// /// /the / / voices /\\// /the \ \ projector / / / \ / /and / / /the / /analysand / \ \ / / /alternate / / / \ \ /between / / / / / left / / / / / / / / \ \covery / / / / /of\ \ \ / / / / / / /damage—leaks, / / / / / / / / / /fractures, / / / / / /accidents, / / / / / / \anomalies— \//\\\//\\/ unsuspected cess as of /\\////////\\\//\\\//\\\\////\\\\/////\\\////\\\\//////////////\\\/////////////////\\////////\\///\\///\\\ terrain, and no\ great /\\\/ / /right / \ \channels. \ \ \ / / /It\ requires \\///\ \ \ \ \leap \ \ \of\imagination / / / / / / \ to \ /read / / /Hades \ \ \ \as \ \ \ / / / / / /opens / / \ /onto / / /newly \ \ \ /uncertain ////// \ \ \ /with / / /the / /process \ \ \ / /punctuated, / / \ \ \ \ \ incessantly, ///\\////\\ //\\/ /cipher \ \ \ \for \ \the / / /unconscious, / \ \ \ / / / /and / \ \indeed \ \ \ \the / / /analogy / / / / \is\ made \ / / /explicit \ \ \ / /by \ \ \ \ / / / / /by / \the \ \ /monotone / / / \ \ /announcement ///\\\\\\\ \yet /// / / \ \ /formulation / \ \ \ \ \ \of / /the //\\/////\ of another a / / \ \ / / / \ \ \ / / / / / / / \ \ / / / / / / / / / / / / / / / / / / \ \ / / / / / \ / / / / / \ \ / / / / / / \ \ / / / / / / / / / / \ \ \ \ \ \ \ \ \ \ / / / / \ \ / / \ \ \ \ / / / / / /model. \\\///// //\\/ / / / in / /The / / /Interpretation ////\\\// / / / / / /where / / / /he / /employs, //\\// / /epigraph / / / / / / / / / / / / /Does \\\/ / /indefatigable / / / / / / / \‘next’ \/// ///\\ / / / / \ resolution \////// ///// /\\///// this suggest imminent or/infinite intermiFreud of/Dreams, as/an //\\/ / / / / / / / / / / / / / \ \ \ \ \ / / / / / / / \ \ / / / / / \ \ \ / / / / / / / / / / / / / / / \ \ \ \ / / / / / / / / / / / / / / / / / / / / / / / / / \ \ / / / / / / / / / / / / /\\\\\// which meant to/evoke nature of/the //\\/ //// \ \ \ /the / /treacherous ///\\\\/ //// / \ divide \ \ \ /that / / /joins \ \ /the / /two / / \halves \ / / / / / / \ \ \ \nability? \ / / / / /Is\the / /future / / / /a/time / / /in // / / /nothing / / / / /(more) \ \ / / /happens, / / \ \ \or / /the / /neces///\\\\/ /\\\/ / /psychoanalytic //\\\\//// ///// / / / \famous / / / / utterance \\\\/// \ \ \Virgil’s / / / /Aeneid: \ \ / / / / / / / \ \ /sity / / /of/a/succession \ \ \ / / / /that / / /renders ///// / /world / / / contingent? / \ \ \ / / / /So / /long \ \ \as/the /// /////// the vessel of/the subject, Juno’s from /\\////////\\\///////////\\\/////\\\///\\\///\\\//////////////\\///\\/////\\\//////\\////////\\\////////// \\\/////////\\\//\\//////\\///////\\////\/////\\//////////////\\///\\\\\\\\\\/////\\\/////////\\///\\///// \\///////////\\//\\\\\\\\\\///////\\\/////////\\\///////\\////\\////\\\\\\\//////\\\//////////\\\//\\\\\\\

/\\//\\\////\\/////\\/////\\////\\////\\\\/////////\\\\////\\/////////\\\////\\///\\///\\\////\\/////\\/// \\\//\\/////\\/////\\////\\\////\\///////////////////\\////\\////////\\\\////\\///\\///\\/////\\/////\\/// \\\///////////////\\\////\\/////\\\////////////////////////\\////\\\\\\///////////\\////////////////\\\/// \\///////////////\\\/////////////////////////////////////\\\\/////\\\\////\///////\\///////////////\\\//// that the to/the continues the \\/// / / / \ \ \its\ crossing, / / / \ \ \the \ /projector / / / / / /will / /produce / / / / / its / /cruel / / / tableau, ////// \ \analy\ \ \ \ / / / / / / \a\novel \ \ / /reality //// / /undermines ////\\\\ / /logic / / /of\ deprivation \ \ / / / / /inherent /\\\\/ / \model, \\\///// \\/// /// / \accept \ \ \ \ \ \ \ \ /beating, //////// / /insufficiency //////\/////\ \ \Idea \\\ \ \ \ \ / / / / /via \// / \ \ / / / /application. ///\\\\/// / / \ \ \explains, ////// / \ \ \ \ \ \shares \\\\////// its/ humorous Deleuze masochism sand will in/ the will \//// /// / / / \ \ \another \ \ / / / / / / / /and, /// /the / / / / / / / \ \ /of/both, ///\ \\/// /\\\\/////// /\ \ \ \ \ / / / / / \ \ / / As /// \\\\\////// / / / \ \ \ \ \ \ / /the ////// mysticism: the persist. ///// / / / / / / / / / / / / / / / / / / \ \ \ \ \ \ \ / / / / / \ \ / / / / / / / / / / / / / / \ / / / / /structural / / / / / / traits \ \ \ \of/ / / \ \ \ / /‘the / / /greater \\\// / /renunciation, / / / / / / / /the / / greater / / / / /and ////\\ / / / / / \ \It/is/this / / /focus //// / crossing, / / / / \ \rather \ \ \ \than \ \ /analysis / / / / / or \ \synthesis / / / / / /alone, / / / /that / / / / / / / / / /the /// / / /secure / \ \ \the /// \\\/ /might / / / be / /compared, / / / / / / \he \/ / / / / / /‘to / /a/“black” /////\\\ more gains.’ It continues, on ////\\\/////////////\\\\///////////\\\///////////////////////////\\\//\\//////////////\\\/////////////\\\/ ////\ \ \ /Inspection //////\ \/ / / / \of \ timbre-as-sonic-trauma / / / / / / / / / / / / / / \its \ \coldness. / / / / / /The / /gap / / / / / / / / / /theology / \ \ \ / /where ///\ \ / / \ \ceases \ / / /to // / / / / /the / /will / \and \ \ /is/abjured, / / / / /disavowed, \////\\\// pleasure motivate lends II’s pursuit /\/// \ \ / / /the /// / \shores \ / / / \of\the \ / /Acheron, ////// /the / / /two / / halves /\\\/ /the / \ /subject, / / / / / \ \ \ \ \ \ \“renounced”, \ \ \ / / / / / the / \ \better \ / / \to/be / /recovered / / / / / /as / /a/reward / / \ \or \ /consequence, / / / / / \ \ \ and ///\\/// between two or of \ \ / / / \ \ \ / / / / / / \ \ / / / / \ / / / / / / / \ \ / / / / / / / \ \ \ \ \ \ \ \ / / / / / \ \ \ \ \ \ \ \ \ / / / / / / / \ \ \ / / / / / / / / \ / / / / \ \ / / / \ \ / / / / / / / \ \ / / /as /\/// 9 \\\// / \ \ \ \in/ the / / /capacity \ \ \ / /of / /a /transcendental / / / / / / \ \ \principle, \ \ / / / /linking / / \ \the \ \spatializa\ / / / / / / / / / / \ / /a/law’. / / / /Its/ defining ////// / / / / /traits / / \ \are \ /coldness / / \ \ \ and / / \cruelty. \\\/////\\\/////// aesthetic operates /\\////\\\\\///\\\//////////\\\\\\/////////////////////////////////////////\\\/////\\///\\\\\\///\\\////// Coldness the for suspension tion space—itself /\\// / /of / \time \ \ \with / / / the / \ \temporalization \ / / / / / / / / /of/ / / / \ \ \ / / /neither / / / / /spatial / / / / nor ///////////// / \ \ / / can / / /be / /read / / /in/ / \ \predilection //////\\ / /temporal ///\\\ / / / / / \ \that \///// /\\// / / / / / /but / /the / / /condition / \ \ \ \ \for \ \the \ \ /production / / / / / / \of \ /both. / / / On / / /the \ \far /// / / / / / / / \ \ \constitutes ////\\\/ / /fetish-image—‘[t]he / / / / / / / / \ \ / / /whip / / \or \ \the / /sword / / / /that / / /never / / / /strikes, /\\\\\\\ the temporal, bank \\\///////////////\\\\\\\\///////\\///////\\\\\/\\\\///\\\////\\\//////\//\\\/////\\////////////////\\\\\\ fur descending stands the \\/// / / / /the / /model, / \ / /procured / / / / / /via \\ \ /freezing / / / / /of/ sonic / / \ \information. \ / \ \ / / /As / \explained \ \ \ \ \ \ \ \ / / / / \the \// / /that / \ never \ \ \ \discloses \ \ \ \ / /the \ \flesh, / / / /the / \heel \ \ /that / / /is/forever ///// \ / / / / / /on //\\\ \//// /\ \///\ \ \ / / / /creator / / / / /of / /the / /time-frequency / / / / / / / / / /scattering \\\//// / / \ \ \ \ / / / / / / \the \ \ /victim’, / / / /for \ \the \\\ \ \ \ / / \betrays \ / / / /‘the \\\ / / /intense / / \ \ /preoccupation //\\///// ////// masochist most with by Vincent Lostanlen, transform //////\\////\\/////////////\\/////////\\////////////////\\\////////\\/////\\\////\//////\\///\\\////////// movement; his scenes used It/ / / / / / / \arrested ///// \ \ \in/the / /piece, / \ \ /the / / extraction \ \ / / / / /of/invariants / / \ \ / / requires / / / / / the / / \removal \ / / / /of/time. //// \\//// /////// // / / / \are \ /frozen, / / / / /as/though / / / \ \photographed, \ / / / / \ \ / /stereo/\\///// ///// \he \ /writes, / / / /‘as \ \ though’ \ / / \ \he / /and / / /his / /colleagues / \ \ / / /‘had / / /unearthed / / / \ \ / /some / / /kind / / /of / / / / / / / / \typed \ / / /or // / / / /[…] / / like / / /a /tableau / / \ \vivant’ ///// / /petrified / / \ \ \in/Lostanlen’s ////\\///\\///// painted (or is, / / / \ \ \ \ / / / / / \ \ \ / / \ \ / / / / / / / / \ \ \ / / \ / / / / / \ \ / / / / / / / / \ \ / / / / / / \ \ / / / \10\ \ \ \ / / / / / / / / / / / / / / / / / / / \ \ \ / / / / / / \ \ /timeless //\\///// \\\\\ \ / / / / / / \crystal, \ / / / \whose \ / / / eternal / \ / / /glisten / \ \ \ [was] \ \ \ /a/petrified / \ \ \ / /testimony / / / / / \of \ \ \ / / / / \ \crystal) \ / / / \ \—and \ \ \ \the \ /investment / / / / / / /in/disinvestment / / / \ \ \ \ \ \that \ / /characterises / / / / / \ \ /the / /mas\\////\ all-witnessing \\\\/ / / /light / / / / \ \ /seen //\\///\ 7 \\////\\\\///\\\///////\\\//////\\////////\\\\///////////\\\\\\///////\\\///\\///\\ resynthesis the every ///// / / / / / /it\ had \ \ / / / \before’. \ \ / / /On \ \ the \ / /near / / /bank, / / / the / / \empirical \///// / / \ \ \ / / / / / / / / /ochistic / / / / /relation / / / / /to \\ \ /transcendental / / / / \ / / / /function / / / / /of / /the / /crossing / / / / \as \ /that / / /which \\////\ ///// / / / /out \ \ \this \ / /information / / / \ \ / /by / /re-temporalizing \ \ \ / / / / / / / /it/in/ / / / \of \ /Brownian / \ \ \ / / / / / / / / /both / / / divides / / / / /and / / links / \ \ the \ / /fetish / \ \ with \ / /its / /‘offset / / / /twin’. / / / /Unlike / / \ \the \ \narcissist— ////\\\//// sounds a /field /////////\\\//////\\\////\\\/////////////\\//\\/////\\////////\\/////\\///\\\//////////////\\\//////\\\/// noise. the ///// / / / To / /return / / / /to / /the / /analogy / \ \ \ /with / / /mysticism, \ \ \ / / / /the / /ascetic / / / / /extraction \ \ \ / / \of \ \in/ / / \ \ \ \ / /diagnostic / / / / / \ \model / / / /of /\ \ /philosopher, / / \ \ / / / /who / / /suspends / / / / / /or/disinvests / / / / / / /a /drive / / /in \\\// ///// ///// / / /lived / / /material / / / / \produces, \ / / / / /via \ \the / /renunciation / / / / / / / /of /\ \ / / /contin/ \ \ / / / / / \ \ \ /order / / / /to\ reinvest \\//// / / ego / / \as \/ / /motor / / / /of/ pure / / / thought—the / / / / / / / / /masochist //////\\// variants from earthly it /in/the the \\\\\\///////\/////////////\\/////////\\\\////\\\/////\\\////\\//////////\\\////\\\\\\\\///////\////////// gency, delirium—and so\in \\\\\ \ \ / /a/return / / \ \to\ material ////// / / / / / / \ \ does //// \ \the \ \service \ \ \ / /of/the / / /inef\ \ / / / / / / \ \performs / / / / \ \a/ reinvestment / / / / / / / / \that \ \ /takes / / / the \ \ \crossing \ \ \ \ \ itself, \ \ / /understood / / / \ \ / / as / /the ////// ///// \ \ \the / / irresolvable //\\\/// / / /for / /the /// / \ \ /of/timbre, / / \ \ \or\the \\/ / / /Idea. / / /As / \an \ \ / / / / / \ \source \ / / / \of\both / / /novelty / / / / \and \ \ \death, / / / /as\ its \ \object. / / / / /It/is\artistic \ \ / / /but / \not \ / sensual, ///////// fable, quest secret sonic //////\\\///\\\//\\///////\\\//////////////////////////\\\///\\\/////\\\\/////\\////////\\\///\\///\\///// aesthetic diagnosis its/ lust not ///// / / \ / / /procedure, / \ \ \ / / \it\approaches / / / / / / / the / \ /psychoanalytic ////////// / / / / / /of/ mas/ / / / / / / / / \ \scientific / / / / / \in \/ / / /for / \observation, / / / / / / / /and /// / /merely / / / / philosophical. / \ / / / / \ \ /It/has / \ \no ///// ///// / / / / a/ perversion / / \ \ / / /that \ \ /Deleuze / / \ / /characterises / / / / / / \ \as / ‘neither / / / / /material \ \ / / /nor /// / / / / / / / / \ \interest / / / / /in \\ \ /repetition / / / / / /of // / / / / /pleasure, / / / / / /which / / / /it/sees / / /as /\ \ /poor / \ \epi\//\\/ ochism, morthe empirical the / \ \ / / / / / / / / \ \ \ / / \ \ \ 8/ / \ \ \ \ / / / / \ \ \ \ / / / / / \ \ \ / / / / \ \ \ \ / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / \ \ / / / / / / / / \ \ / / / \ \ / / / \ \ \ al,/but /\\\/ / / essentially \ \ \ \ \ / /formal’. / \ \ \ /Masochism / / \ \ \ \ \is\ formalist \ \ \ \ / /in/its / /obsessive / \ \ / / /creation / \ \ \ \of \ \ \ / / / / / /phenomenon / / \ / / / / \ of \ \a/far / /more / / / /esoteric \ \ \ / /satisfaction, / / / / \ \ \ /the / /pleasure / \ \ \ \ \of/ repetition //\\////\\ //\\/ / \ \fetishes—images \ \ \ \ / / / / \ \ \that / / /stand / / \ in, \ \as \ \Freud \/// / /it,/ for / \ an \ \unobtainable / / / \ \ \ / /or \ \ \ \ / / / / /itself. / \ \ \It/ is / /Thanatos, / \ \ / / /the / \ \death \ \ \ \drive \ \ /in / /person, / / \ \ /that / \ \the \ \masochist \ \ / / / / \loves; \/////\ static has //\\///\\\///////\\//////////////////\\/////\/////\\//////\\//////////\\\\\\\\\\////\\//\\\\//////\\\///// //\\/ / / / / / /object. ///// / \fetish \ \ / /operates / / / / / on / /multiple / / / / /levels: / / / \first \ / /as / /a /disavowal / / / / / / / / / / / / /Thanatos, \\\//// / /pure / / /form / \ \of / /disinvestment ////\\/// / \ makes \//// ////////\ \///// impossible The the that all/reinvestment pos//\\/ /// / / /then / / / / /a/fantasy \ \ \ \ \ / / /is/meant / / / \ \ /bring ////\\ \ / / /object / / / / / / / / / / / / \ \sible; \ \ / / / / / / / /the / / / / /of/ infinite / / / / / / / / / / /alongside \ \ / / / / / / / /one /////\\ \\\// of/ input; absent for //\\/ /the /// / \ \ \ / / as / / / / \ \ \ \that / / / / / / / \to \ \ \ / /the //\ \ / / / / / \ \into / / / / / / \ \ \ \ \ / / /Thanatos / / \ / / / / /god / / / / / / / / /suspense, / / / / / / \ \ / / / /whom / \ \ \ / / /waits //// \\\\/ /\\\/ / /world; / / / \and \ \ finally \ / / /as / /the / /progenitor / / / / / \ /of/an / /unnatural \ \ \ \ / /rebirth / \ \ \ in / /the / /form \ \ /of / / / / / / \ \ /the / / /love //\ \ / / / /desiring / / / / /only / / /interminability: //////\\\/ / / / / / \ \ \ / / / /Mas/////// the of\waiting, ‘Next…next…next….’ /\\////////\\\///////////\\\/////\\\///\\\///\\\//////////////\\///\\/////\\\//////\\////////\\\////////// \\\/////////\\\//\\//////\\///////\\////\/////\\//////////////\\///\\\\\\\\\\/////\\\/////////\\///\\///// \\///////////\\//\\\\\\\\\\///////\\\/////////\\\///////\\////\\////\\\\\\\//////\\\//////////\\\//\\\\\\\

/\\//\\\////\\/////\\/////\\////\\////\\\\/////////\\\\////\\/////////\\\////\\///\\///\\\////\\/////\\/// \\\//\\/////\\/////\\////\\\////\\///////////////////\\////\\////////\\\\////\\///\\///\\/////\\/////\\/// \\\///////////////\\\////\\/////\\\////////////////////////\\////\\\\\\///////////\\////////////////\\\/// \\///////////////\\\/////////////////////////////////////\\\\/////\\\\////\///////\\///////////////\\\//// Rather, generative ochism the frigid the \\/// / / / \is\ an \ \eroticism / / / \ \ \of \/ / /threshold—the ////////// / / /pornography / / / / / / / /of /\ \ \gap. \ \ \ / / / / / / \lime \ \ \qualities / / / / / of / /sensation. /////\\ \ \ / /the /// \ \ \ / / /principle / / / \ \ \from \ / /which / \ \ \this \///// \\/// / / / \for \\\\\ \ \ \ / / / /futurity / / / / / / /disconnection, / / / / / / / \ / / / / / immobilises \ \ \ \ \ \ \ \ \ \ / / / / / \ / / / /is\procured \///////\\ \ \ /complex, / / / / \ \ \ / / / / /and / / \ \ \ \ \notion \ \ \ \ \ /an ///// more A/ compressed \//// /desire / / / / / \the \\\ \ / / / / / / / / / / / of / / / / / / / / \ \ / which / / / / \ \ \ / / / / \ \ \ \ / / / /novelty / / / / \ \ \ \ \ / / /is/the /\\ / / / / / \ \ \ \perverse, \ / / / / / / /modern / / \ \ \ \ \ \ /of /////// the ///// / /ferryman / / / / / /in/the / / repetition / / / / / / /of\his \ \perpetual \ \ \ \ / / crossing. / / / \ \ /The / / /obsessive / / / / / /em/ / / / \ / / / / /investment / / / / / / \ in \ \the \ /structure / / \ \ \ / of / /an / /absence. \ \ \ / / /Timbre / / / /remains / / / / / at / /large, / / / /but / /in ///\\ ///// \ \ / /it/places / / / /on / /restraint /////\ \ \ \ \it\difficult \ \ / / /to/ / / \ \ / /the /// / / / / / /as / / / / / / / / /the / / /fetishes / / / / \that \\/ / / \ \ \ /in/its / /pursuit, / / / / /formalism / / / / \ \is/ made / / / /to / /conjure ///// ///\\\ condense novphasis makes interpret masochist ////\\\/////////////\\\\///////////\\\///////////////////////////\\\//\\//////////////\\\/////////////\\\/ ////\ \ \ / / /other //// \ \ /chaste. / / / \Its \ /crystalline / / / / / / /fanaticism / / / / / /for \ \abstention \ / / / / / /and / / de/ / / / / / / / / /elties / \ \ \the / /laws / / / of \ \formalism / / \ \ \ / were / / / /meant / / / /to // / / \ \Psychic \ / / / /and / / /sonic \ / /reor//\\\// forbid. anything than /\/// \\ //// / / /strange \ \ / / /successors. \ \ \ / / / /Which ///// /why /// / /masochistic \\\///\/ / / /of / / \ \ \ \ \ \ \ganisation \ \ \ / / / /are / /premised \ \ \ / / \on / /the / / paradoxical / / / / / / / /fluidity / / \ \ of \ /an / /icy / /investment / \ \ \ / / /in \\/// lay brings forth is the mode \\///\\\//////\\////\///////\\///////\\\\\\\\/////\\\\\\\\\///////\\\////////\////\\///\\///////\\////\/// \\\// / \ \ \ \ /is // / \ \ \ / / /by // / / / / /to /\ \ \ \of/parthenogenesis: / / / / / \ \ \ \ \ /asexual / / / / / / / / / \ / /Thanatos / / / / / /as / /neither / / / / analysis / / / / / nor / / \synthesis \\///\ \ \the / /motor \ \ \ \which / / / /perpetuates /\\\/////// but production considered, Deleuze, be\one /\\////\\\\\///\\\//////////\\\\\\/////////////////////////////////////////\\\/////\\///\\\\\\///\\\////// As\ the copulation nourished nothing /\\// / / / \ \ \with \ / /the / /fetish \ \ \ /sires / / /synthetic / / / / / /progeny, ///\\\ / / / / / /on // / / / / but / / / / / / / / / /their / / / infinite / \ \ / /back-and-forth. ////////// \ / /analysand / / / / \ \dispassionately / / / / / \ \ \ /confirms, / / / / \ \the \///// /\\// / /and / /noise, / / / /cultivated ////\\\ \ \dark \ \ \ beside / / / / /a /cold / \ \statue, / / / /under / / / \the \// / / / / / / / / \ \ \‘filtering / / / / \ \and \// / / / /of/ / / / / \ \ /asymmetries / / / / \ \ \ /will / / /continue / / / / / ad / /infinitum’. ///\\\\\\\ sifting persistent ice in\the silvery \\\///////////////\\\\\\\\///////\\///////\\\\\/\\\\///\\\////\\\//////\//\\\/////\\////////////////\\\\\\ light \\/// / / of / /the / /moon. / \ / / / / / / / / \ \ \ / / / / / / / / / \ \ \ / \ \ / / / / \ \ \ \ \ \ \ \ \ / / / / \Between \ / / / / /the \ \ \spatialization \ \ \ \ \ \ / /of \ \time / / /and / / \the \ \temporalisation / / / / / / / / / /of \ /space, / / / /the ///\\\ \ / / / / / \Masochism \ / / / \ \ \is/cruel //// / / / / /in / /subverting / / / / / / the / / /model, / / \ \it\imposes / / / / / /it\with \ \ \ / / / / / / \Acheron \ \ / / / /coldly /\\\ \\\\\//\\////\\\/////\\///\\/////////// churns. because, //////\\////\\/////////////\\/////////\\////////////////\\\////////\\/////\\\////\//////\\///\\\////////// exaggerated in/the of\the subtle, ///// \ \ \ / / / /severity. \ \ / / /The \ \ /rebellion / / / / /it/enacts, /\\// / /name //// \ /Idea, / / /is // //////////\\\////////////////\\//////////\\\////\\///\\///// ///// \\/////\ \ \counterintuitive. / / \ \ / / / / / /The / / \masochist \ / / / / /abides ////\ \the / / /logic / / /of/ the /////////\\/////////////////\\/////////\\\/////\\///\\///// understated, and by ///\\\\/////\\\//\\////////\\\//\/////\\////////\\//////\\///\\\\\///////////////////\\\//////\\///\\///// \\\\\ \ / / / / / /empirical \\///\ \ / /be / /punished \ / / / /for \ \its \ \impurity—but \ \ / / / \ \ \ /inverts / / / /its / /pur\\\\////\\\///\\\\\\\////////////\\\\\\\///////\\///\\////\ model—the must \\\\/ / / /by // / / \ \ / / / \ \ /punishment / / \ \ \ / / / / \ \ \ \ / /to/legitimate \\\//// / / / \ \In \//////\\////////\\\\///////////\\\\\\///////\\\///\\///\\ pose instrumentalising pleasure. ///// ///// / \ \ \ / / / \ \ \ / / / \ \ \ / /as/a/ means //////\\///// //\\\///////////////////\\\/////\/////////////////\\////\\////\ ///// / /way, / / \the \\\ //// \ \ / /to / /deliver \ \ \ /the /// / / / / decadence / / / / / / \ it \/ / \origi\\////////////////////\\\///\\\//////////////\\\\////\\\//// this model is/forced sensual had /////////\\\//////\\\////\\\/////////////\\//\\/////\\////////\\/////\\///\\\//////////////\\\//////\\\/// nally been withhold. of/the ///// /// / / /installed / / / / /to // / \ \ \ / The / / /excessive \ \ \ / / /cruelty ///// / / masochist \ \ \ / / \ \thus \///\\\\///////\\/////\\///\\/////////////////////////\\\// ///// / / / / an / /exorbitant / / / / / / /humour: / / \ \ /over-attention / / / / \ \ / / /to / /order //// / / produces \ \ / / / / more \\/////\\\/////\\\//////////\\//////////////////////////\\// betrays only \\\\\\///////\/////////////\\/////////\\\\////\\\/////\\\////\\//////////\\\////\\\\\\\\///////\////////// disorder. more \\\\\ \ \ / / /The / / \resynthesized \ \ / / / / / / /sound / / / /is/ \ \ / /intractable, / / \ \ \ \ \ more \ \ \ /disorienting, /////\\//////\\////\\/////////\\\////\\\\\\\\\\/////\\////////// ///// \ \more \ / /empirically / / \ \ \ / /obscene—a //////// / / \ \ / / /that / \ \always \ \ \ \disrupts / / / / /the /// \\\/////\\\///\\///////\\\\////\\\//////\\\////\\////////// and contingency plan, //////\\\///\\\//\\///////\\\//////////////////////////\\\///\\\/////\\\\/////\\////////\\\///\\///\\///// because modelled. ///// / / \ / /timbre / / \ \cannot \ / / \ \be/ / / / / / / /Thus \ / /‘the / / /masochist / / / / / /exhibits / / / / /the / / /pun////////\\/////\\//////\//////////////////\////\\///\\///// ///// / / / / /but / /also \ \ /its / /failure. \ \ / /He / \shows / / / /his / / submission, / / \ \ / / / /certainly, //\\// / /also / / /his ///////\\/////\\\/////////////////////////////\\//\\\//\\/ ishment but / \ \ / / / / / / / / \ \ \ / /11\ \ \ / / \ \ \ \ / / / / \ \ \ \ / / / / / \ \ \ / / / / \ \ \ \ / / / / / / / / / / / / / / \ \ \ / / / / / / / / / / / / / / / / / \ \ / / / / / / / / \ \ / / / \ \ / / / \ \ \ invincible rebellion’. /\\\/ ///\\\ \ \ / / / \Or, \ \as / /Michael / \ \ \ \Newman \ \ \ \ \ \writes / / / /of / /Hecker’s \ \ / / /work, / \ \ \‘the \\\\////////\////\\\///////\\\//////\\\////\\\\\///\\////\\ //\\/ / \ \ \ \ \of\ / / / / \in \ \ / / / / / \leads \\\\ / / /very ////\\\// \\\//\\\\//////\\\////\\////\\\\\\\\/////\\//\\\\\\////\\/////\ extension control to\ of/ //\\/ //\\\/// / / / / \ \synthesis ////////// /the / / / / / /opposite /12\ \ / / / /autonomy, /\/////\\//////\\//////////\\\\\\\\\\////\\//\\\\//////\\\///// //\\/ / / /in // / / generates /////\\ \ /kinds //// / / /and / /pleasure’. / / / / / / \The \ /illicit / / /productiv//////////////\\\//////////\\//////\\////\\/////////////\\///// which turn new of/pain //\\/ / / / / / / / / / / / / / \ \ \ \ \ / / / / / / / \ \ / / / / / \ \ \ / / / ////////////\\\\/////////////////////////\\/////////////\\\\\// ity/ of II /circulates It/could not, //\\/ / /Inspection //\\\// / / / \ \ \around \ / / /this / / /absence. /\\\\/ //\\ / /however, / / / \ \ /be /////\\\\\/////\////////////////////\\/////\\\///////\\\\/ /\\\/ / / / /removed / \ \ \ \ /from / / /a/Romantic / / / / / /investment / \ / / / / \ in \ \the \ /super-rational / / \ \ \ / / / /or \ \sub///////\\//////\\\//////////////////\\\//////\\\/////////// further /\\////////\\\///////////\\\/////\\\///\\\///\\\//////////////\\///\\/////\\\//////\\////////\\\////////// \\\/////////\\\//\\//////\\///////\\////\/////\\//////////////\\///\\\\\\\\\\/////\\\/////////\\///\\///// \\///////////\\//\\\\\\\\\\///////\\\/////////\\\///////\\////\\////\\\\\\\//////\\\//////////\\\//\\\\\\\

1 2 3 4 5 6 7 8 9 10 11 12 G. Deleuze, Masochism: Coldness and Cruelty, tr. J. McNeil (New York: Zone, 2013), 22. Unattributed quotations in the text are taken from Mackay’s libretto. See R. Mackay, ‘A Brief History of Geotrauma’, in E. Keller, N. Masciandaro, and E. Thacker, Leper Creativity (New York: Punctum, 2012), and ‘Stages, Plots and Traumas’, in H. Gunkel, A Hameed, and S. O’Sullivan, Futures and Fictions (London: Repeater, 2017). Mackay, ‘Stages, Plots and Traumas’, 90–91. S. Freud, The Interpretation of Dreams, tr. J. Strachey (Middlesex: Penguin, 1976). Florian Hecker, FAVN, 2016. Commissioned by Alte Oper Frankfurt and MMK Museum für Moderne Kunst Frankfurt am Main. Libretto by Robin Mackay. V. Lostanlen, ‘On Time-frequency Scattering and Computer Music’, in F. Hecker, Halluzination, Perspektive, Synthese, ed. V.J. Müller (Berlin: Sternberg Press, 2019), 98. Deleuze, Masochism, 74. Ibid., 120. Ibid., 70. T. Reik, Masochism in Sex and Society, tr. M.H. Beigel and G.M. Kurth (New York: Grove, 1962), 145. M. Newman, ‘Florian Hecker: Chimerization and Form’, in F. Hecker, Formulations, ed. R. Mackay (London: Koenig Books, 2016), 64. INDEX_01/TIME_00:00 INDEX_02/TIME_00:58 INDEX_03/TIME_04:13 INDEX_04/TIME_04:51 INDEX_05/TIME_05:36 INDEX_06/TIME_06:36 INDEX_07/TIME_07:18 INDEX_08/TIME_08:43 INDEX_09/TIME_16:41 INDEX_10/TIME_17:23 INDEX_11/TIME_19:28 INDEX_12/TIME_20:30 INDEX_13/TIME_23:44 INDEX_14/TIME_25:08 INDEX_15/TIME_25:48 INDEX_16/TIME_27:14 INDEX_17/TIME_28:17 INDEX_18/TIME_29:20 INDEX_19/TIME_34:21 INDEX_20/TIME_35:22 INDEX_21/TIME_36:26 INDEX_22/TIME_37:49 INDEX_23/TIME_39:10 INDEX_24/TIME_39:50 INDEX_25/TIME_44:54 INDEX_26/TIME_47:01 INDEX_27/TIME_48:02 INDEX_28/TIME_48:43 INDEX_29/TIME_49:45 INDEX_30/TIME_50:25 INDEX_31/TIME_51:04 INDEX_32/TIME_54:16 INDEX_33/TIME_55:16 INDEX_34/TIME_55:54 INDEX_35/TIME_56:33 INDEX_36/TIME_57:55 INDEX_37/TIME_58:33 INDEX_38/TIME_59:15 INDEX_39/TIME_61:22 INDEX_40/TIME_62:45 INDEX_41/TIME_63:46 INDEX_42/TIME_64:24 INDEX_43/TIME_66:29 INDEX_44/TIME_68:36 INDEX_45/TIME_69:37 INDEX_46/TIME_70:18 INDEX_47/TIME_71:23 INDEX_48/TIME_72:02 INDEX_49/TIME_73:25 INDEX_50/TIME_74:27