Chaos Sive Natura. Electric Tree and Electronic Rhizome

The experiment Chaos Sive Natura is an interval, an in-between, an “&,” a critical space between Schönberg’s “to make music with ideas” (Schönberg and Kandinsky, Musica e pittura: Lettere testi documenti), the impartial acknowledgment that sound is the physical effect of vibrations travelling through air, the effect of these vibrations on the human cognitive function, its displacement in a “chaotic” spatial dimension, the Electric Tree (2016) of Franco D’Andrea’s electronic jazz, and the “molecularisation of sound” that puts to the test Deleuze and Guattari’s notion of rhythm in A Thousand Plateaus. Chaos Sive Natura attempts to trace a new path among the many that are possible towards new forms and contents, offering a reading of the Refrain plateau from the perspective of the new musical and philosophical culture theorised by Kodwo Eshun (More Brilliant Than the Sun: Adventures in Sonic Fiction, 1998), Erik Davis (“Roots and Wires,” 2008), Louis Chude-Sokai (The Sound of Culture: Diaspora and Black Technopoetics, 2016), Achim Szepanski (“Technodeleuze and Mille Plateaux: Achim Szepanski’s Interview (1994-1996),” 2017), Edmund Berger (“Killing Art,” 2017), among others. Departing from Nietzsche and Spinoza, and arriving at Deleuze and Guattari, OCSS claims that even a small difference in the milieu can cause a radical change from the initial sonic material. At the horizon of Nature as rhythm, OCSS catches sight of how a “non-orientable accelerationism” may look like.


Chaos Sive Natura

Anne Teresa De Keersmaeker: An Unbridled Activity of Gothic Lines

Anne Teresa De Keersmaeker’s choreographies for the famous dance company Rosas are often thought to be dependent upon rigorous, abstract, and formal parameters, resonating with the meticulous interrogation of the score (frequently borrowed from musical modernism: Reich, Grisey, Bartók, Schönberg). While it is not completely untrue, this paper goes beyond mere application of mathematical rules and of  Euclidian geometry to dance, and demonstrates that there is a tendency to give to danced lines a life on their own—precisely what Deleuze and Guattari named “continuous variation.” Ultimately, it is argued that De Keersmaeker’s choreographic vocabulary is inseparable from the tracing of a very special “line” that we draw upon Deleuze’s comments on Gothic art in Wilhelm Wörringer. Within this rediscovery in dance of smooth space, we shall endeavour to cast light upon very special figures that occupy it, since those figures are considered only from the viewpoint of the affections that befall them. When such a choreographic pattern comes to the fore, lines become “gothic”; that is, they never cease to change direction, always turning in on themselves, acting beneath or beyond representation, in a kind of generous anarchy where points of inflection, condensation or dispersion become inseparable from points of tears and joy, desire and anxiety, hope and freedom.