“A rhizome ceaselessly establishes connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles. A semiotic chain is like a tuber agglomerating very diverse acts, not only linguistic, but also perceptive, mimetic, gestural, and congnitive: there is no language in itself, nor are there any linguistic universals, only a throng of dialects, patois, slangs, and specialized languages. There is no ideal speaker-listener, any more than there is a homogeneous linguistic community. Language is, in Weinreich’s words, “an essentially heterogeneous reality.” There is no mother tongue, only a power takeover by a dominant language within a political multiplicity. Language stabilizes around a parish, a bishopric, a capial. It forms a bulb. It evolves by subterranean stems and flows, along river valleys or train tracks; it spreads like a patch of oil. It is always possible to break a language down into internal structural elements, an undertaking not fundamentally different from a search for roots. There is always something genealogical about a tree. It is not a method for the people. A method of the rhizome type, on the contrary, can analyze language only by decentering it onto other dimensions and other registers. A language is never closed upon itself, except as a function of impotence.”
Deleuze, Gilles, Felix Guattari, and Brian Massumi. A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press, 1987. 7-8.
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Textual language, like art, always builts upon itself. It is a mixture of realities and consciousness, always organic and growing upon responses on social and anthropological levels. This is why a camera should be open-source, to allow this kind of a reaction-response language to continue flowing with cinema.
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