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Ode to Man
Tho’ many are the terrors,
not one more terrible than man goes.
This one beyond the grizzled sea
in winter storming to the south
He crosses, all-engulfed,
cutting through, up from under swells.
& of the gods She the Eldest, Earth
un-withering, un-toiling, is worn down,
As the Twisting Plough’s year
into Twisting Plough’s year,
Through the breeding of horse, he turns.
& the lighthearted race of birds
all-snaring he drives them
& savage beasts, their clan, & of the sea,
marine in kind
With tightly-wound meshes spun
from all-seeing is Man.
Yet too, he masters by means of pastoral
beast, mountain-trodding,
The unruly-maned horse holding fast,
‘round the neck yoked,
& the mountain’s
ceaseless bull.
& the voice & wind-fast thought
& the passion for civic ways
He has taught, so from crag’s poor court
from under the ether’s hard-tossed arrows
To flee, this all-crossing one. Blocked, he comes
upon nothing so fated.
From Hades alone escape he’ll not bring.
Tho’ from sickness impossible
Flight he has pondered.
A skilled one, devising of arts beyond hope,
Holding at times an evil,
But then to the noble he crawls,
honoring the laws of the Earth, &
Of gods the oath so just,
high-citied.
Citiless is the one who with the un-beautiful
dwells, boldly in grace.
Never for me a hearth-mate
may he have been, never equal in mind
He who offers this.
Ode to Man
A BwO is made in such a way that it can be occupied, populated only by intensities. Only intensities pass and circulate. Still, the BwO is not a scene, a place, or even a support upon which something comes to pass. It has nothing to do with phantasy, there is nothing to interpret. The BwO causes intensities to pass; it produces and distributes them in a spatium that is itself intensive, lacking extension. It is not space, nor is it in space; it is matter that occupies space to a given degree—to the degree corresponding to
the intensities produced. It is nonstratified, unformed, intense matter, the matrix of intensity, intensity = 0; but there is nothing negative about that zero, there are no negative or opposite intensities. Matter equals energy. Production of the real as an intensive magnitude starting at zero. That is why we treat the BwO as the full egg before the extension of the organism and the organization of the organs, before the formation of the strata; as the intense egg defined by axes and vectors, gradients and thresholds, by dynamic tendencies involving energy transformation and kinematic movements involving group displacement, by migrations: all independent
of accessory forms because the organs appear and function here only as pure intensities. The organ changes when it crosses a threshold, when it
changes gradient. "No organ is constant as regards either function or position, . . . sex organs sprout anywhere,... rectums open, defecate and close, . . . the entire organism changes color and consistency in split-second adjustments." The tantric egg. After all, is not Spinoza's Ethics the great book of the BwO?
Ode to Man
But human power is extremely limited, and is infinitely surpassed by the power of external causes; we have not, therefore, an absolute power of shaping to our use those things which are without us. Nevertheless, we shall bear with an equal mind all that happens to us in contravention to the claims of our own advantage, so long as we are conscious, that we have done our duty, and that the power which we possess is not sufficient to enable us to protect ourselves completely; remembering that we are a part of universal nature, and that we follow her order. If we have a clear and distinct understanding of this, that part of our nature which is defined by intelligence, in other words the better part of ourselves, will assuredly acquiesce in what befalls us, and in such acquiescence will endeavour to persist. For, in so far as we are intelligent beings, we cannot desire anything save that which is necessary, nor yield absolute acquiescence to anything, save to that which is true: wherefore, in so far as we have a right understanding of these things, the endeavour of the better part of ourselves is in harmony with the order of nature as a whole.
Hello,
I’m Louise, a graphic designer living and working in Brooklyn, New York. I found your blog on Spinoza some time ago while collecting research material for a project I’m doing on The Ethics.
Of all the material I’ve gathered on the internet, I think your blog has been the most interesting so far. I’ve found a few key elements through you for the project, such as Borges’ poem and Descarte’s diagrams. It’s been a huge part in helping me conceptualize and putting together my project.
The project is basically a 9-page booklet that explains Spinoza’s Ethics through simple diagrams and excerpts from the original text. It’s going to be printed right here in Brooklyn, in an extremely limited edition on a two-color silkscreen press. I won’t be making any profit from the publication, since it’s really just a device to promote the printer here in New York.
It’s “for the love,” as they say, and I’d like to make sure I get it right. I was wondering if you’d be willing to take a look at the rough draft, and give me your input. I would be really grateful for any feedback you could give.
If you are curious, a small sample of my past work: http://www.hellolouise.com/work
The printer’s past book projects: http://www.kayrock.org/books/index.html
I look forward to hearing from you!
Many thanks,
Louise Ma
Hi kvond: just stumbled across your weblog and very happy to have found it, as I am also grateful for the really engaged comments you have been contributing to our conversations at In The Middle, so thanks for that as well! Cheers, Eileen
Eileen,
And happy to have found your “In the Middle’ (which I haply found through Nicola’s site). Just wonderful mediations and thoughts.
K.
Hi Kvond, Reading your blog and good to see the spark of Spinoza still flashing. I turned to writing after years in the natural/organic food business and a stint as a fractal artist/chaos theory promoter. Chaos theory does do some pretty good underpinning to the ‘everything is conscious’ school of thought and I ended up writing two books that drew upon my understanding of chaos theory.
The latest one, Sun of gOd, uses a conscious Sun as the missing piece in the jigsaw puzzle of our cosmic understanding. Once we recognize the (should be obvious) living nature of our local star, the rest of the conscious Universe is pretty inescapable, from grains of sand to galaxies.
I suspect you would highly enjoy this new book and I do have a small allowance from my publishers for bloggers. So if you would like a copy sent to you then just let me have a land address. You have my email and for more info on the book go to http://www.sunofgod.net.
Shine on,
Greg
One of the interesting things that Stonier brings out (pertaining to my Spinoza’s Idea as Information piece) is that light is very information dense, and that as such the Sun is basically an information source used to structure the organization of the earth. He makes this point in passing, but it did strike me as a signficantly unexpected support for all those imaginary identifications with the Sun as the source of Truth, etc, etc. I’ll definitely email you for a copy of your book.
Hello,
My father (John) is actually working on his last book, that he calls : Spinoza’s notebook. It’s not a study, rather more a story that in a strange way could of been told by the philosopher… (but in the present days…)
It is said that Spinoza used to draw… I even heard Deleuze talking about a drawing of him as a Napolitan revolutionary and indicating this drawing still exist…
Would you be so kind as to tell us if you know any detail about that subject? (can’t find anything on the net until now…) Thank you for your attention.
Best regards
Yves
Yes, I can’t quite recall where I ran into this Neopolitan revolutionary drawing theory, but it likely was dubious. And there is a Rembrandt painting (I believe) of a young Jewish student that is also hypothesized loosely to be Spinoza, as they lived quite close, and Rembrandt painted Spinoza’s teacher (if I recall). Spinoza did indeed sketch portraits, apparently, the evidence of which is in Colerus’s biography which I have posted on by blog in two parts. And I think there is mention of him doing a self-portrait as a fisherman. Little thought is give to the fact that Spinoza was a tenant of two Master Painters houses, for most of his later adult life (over a decade), and even less attention has been paid to the likelihood that as a lens-grinder and optical instrument maker, in the homes of two master painters, he must of experimented with the camera obscura. (He may even have seen his first lensed painting device in Rembrandt’s studio, as a child). The attested skill of Spinoza’s sketching, his play with lenses and glass, at least to me suggest that he used some sort of camera obscura, and his experiences with the device likely influenced his theory of the imagination, and image (as it also did, in a different way, for Descartes).
Your father’s book sounds most interesting. I too would like to right a Spinoza-novel, but am unsure just what obscure angle I would like to take.
[addendum: I did a little check and indeed it was from Colerus’s bio that both the Fisherman and the revolutionary story comes. I looked at Nadler’s biography which is always a good source, which quotes Colerus at length:
http://books.google.com/books?id=iSe95FJrfeYC&lpg=PP1&dq=Spinoza%20a%20life%20Nadler&pg=PA204#v=onepage&q=Neopolitian&f=false
As you can see, the connection between Spinoza and the revolutionary is a bit tenuous, something of an idiomatic association. But, unfortunately this sketch book is lost to history. It certainly would be an interesting thing to look it.]