Självklart ska vi lita mer på Jäveln
än på t.ex. en präst när det gäller bibeln
kritiskt tänkande e bra
kass
ps. har aldrig hört talas om jäv
måndag 26 december 2011
måndag 19 december 2011
who the fuck NEEDS what?!
: " The project aims to find new methods for the return of unaccompanied minors that need to return home"
http://www.migrationsverket.se/info/4597_en.html
ibland kan det sägas så enkelt...:
Many unaccompanied minors travel to Europe seeking asylum. But not all minors applying for asylum meet the requirements for a residence permit.
KKAAASSSSSSS
http://www.migrationsverket.se/info/4597_en.html
ibland kan det sägas så enkelt...:
Many unaccompanied minors travel to Europe seeking asylum. But not all minors applying for asylum meet the requirements for a residence permit.
KKAAASSSSSSS
Kallocain
-Hur kan det vara så? viskade hon ångestfullt. Hur kan det vara så, att man söker efter något som inte finns? Hur kan det vara så, att man är sjuk till döden, när man är alldeles frisk, när allt är som det ska - - -
'Linda' i Kallocain, Karin Boye
Boye uttrycker här, 1940, en förståelse för D&Gs post-freudianska positiva förståelse av begär: att ett brgär inte är riktat mot något som saknas en - utan är en immanent möjlighet, en dragning mot det som kommer att utöka din (och därmed alla andras) verklighet. En möjlighet som är beroende av att vara begärd - önskad*. Att begär just alltid syftar till någonting, det som inte finns. Att begära är att utöka den gemensamma verkligheten.
KaSS
*se Agamben 'Quod libet' - 'vad som helst', det som en helst vill.
'Linda' i Kallocain, Karin Boye
Boye uttrycker här, 1940, en förståelse för D&Gs post-freudianska positiva förståelse av begär: att ett brgär inte är riktat mot något som saknas en - utan är en immanent möjlighet, en dragning mot det som kommer att utöka din (och därmed alla andras) verklighet. En möjlighet som är beroende av att vara begärd - önskad*. Att begär just alltid syftar till någonting, det som inte finns. Att begära är att utöka den gemensamma verkligheten.
KaSS
*se Agamben 'Quod libet' - 'vad som helst', det som en helst vill.
fredag 16 december 2011
The work regime
this is very dense, if you like, or read it 'poetically', freely associating
me likey, kasS
War Machine, Milles Plateaux, D&G
“Assemblages are passional, they are compositions of desire. Desire has
nothing to do with a natural or spontaneous determination; there is no
desire but assembling, assembled, desire. The rationality, the efficiency, of
an assemblage does not exist without the passions the assemblage brings into
play, without the desires that constitute it as much as it constitutes them.
Detienne has shown that the Greek phalanx was inseparable from a whole
reversal of values, and from a passional mutation that drastically changed
the relations between desire and the war machine. It is a case of man
dismounting from the horse, and of the man-animal relation being
replaced by a relation between men in an infantry assemblage that paves
the way for the advent of the peasant-soldier, the citizen-soldier: the entire
Eros of war changes, a group homosexual Eros tends to replace the
zoosexual Eros of the horseman. Undoubtedly, whenever a State appropriates
the war machine, it tends to assimilate the education of the citizen to
the training of the worker to the apprenticeship of the soldier. But if it is
true that all assemblages are assemblages of desire, the question is whether
the assemblages of war and work, considered in themselves, do not fundamentally
mobilize passions of different orders. Passions are effectuations
of desire that differ according to the assemblage: it is not the same justice or
the same cruelty, the same pity, etc. The work regime is inseparable from an
organization and a development of Form, corresponding to which is the
formation of the subject. This is the passional regime of feeling as "the
form of the worker." Feeling implies an evaluation of matter and its resistances,
a direction (sens, also "meaning") to form and its developments, an
economy of force and its displacements, an entire gravity. But the regime of
the war machine is on the contrary that of affects, which relate only to the
moving body in itself, to speeds and compositions of speed among elements.
Affect is the active discharge of emotion, the counterattack,
whereas feeling is an always displaced, retarded, resisting emotion. Affects
are projectiles just like weapons; feelings are introceptive like tools. There
is a relation between the affect and the weapon, as witnessed not only in
mythology but also in the chanson degeste, and the chivalric novel or novel
of courtly love. Weapons are affects and affects weapons. From this standpoint,
the most absolute immobility, pure catatonia, is a part of the speed
vector, is carried by this vector, which links the petrification of the act to
the precipitation of movement. The knight sleeps on his mount, then
departs like an arrow. Kleist is the author who best integrated these sudden
catatonic fits, swoons, suspenses, with the utmost speeds of a war machine.
He presents us with a becoming-weapon of the technical element simultaneous
to a becoming-affect of the passional element (the Penthesilea equation).
The martial arts have always subordinated weapons to speed, and
above all to mental (absolute) speed; for this reason, they are also the arts of
suspense and immobility. The affect passes through both extremes. Thus
the martial arts do not adhere to a code, as an affair of the State, but follow
ways, which are so many paths of the affect; upon these ways, one learns to
"unuse" weapons as much as one learns to use them, as if the power and cultivation
of the affect were the true goal of the assemblage, the weapon being
only a provisory means. Learning to undo things, and to undo oneself, is
proper to the war machine: the "not-doing" of the warrior, the undoing of
the subject. A movement of decoding runs through the war machine, while
overcoding solders the tool to an organization of work and of the State (the
tool is never unlearned; one can only compensate for its absence). It is true
that the martial arts continually invoke the center of gravity and the rules
for its displacement. That is because these ways are not the ultimate ones.
However far they go, they are still in the domain of Being, and only translate
absolute movements of another nature into the common space—those
effectuated in the Void, not in nothingness, but in the smooth of the void
where there is no longer any goal: attacks, counterattacks, and headlong
plunges.80”
me likey, kasS
War Machine, Milles Plateaux, D&G
“Assemblages are passional, they are compositions of desire. Desire has
nothing to do with a natural or spontaneous determination; there is no
desire but assembling, assembled, desire. The rationality, the efficiency, of
an assemblage does not exist without the passions the assemblage brings into
play, without the desires that constitute it as much as it constitutes them.
Detienne has shown that the Greek phalanx was inseparable from a whole
reversal of values, and from a passional mutation that drastically changed
the relations between desire and the war machine. It is a case of man
dismounting from the horse, and of the man-animal relation being
replaced by a relation between men in an infantry assemblage that paves
the way for the advent of the peasant-soldier, the citizen-soldier: the entire
Eros of war changes, a group homosexual Eros tends to replace the
zoosexual Eros of the horseman. Undoubtedly, whenever a State appropriates
the war machine, it tends to assimilate the education of the citizen to
the training of the worker to the apprenticeship of the soldier. But if it is
true that all assemblages are assemblages of desire, the question is whether
the assemblages of war and work, considered in themselves, do not fundamentally
mobilize passions of different orders. Passions are effectuations
of desire that differ according to the assemblage: it is not the same justice or
the same cruelty, the same pity, etc. The work regime is inseparable from an
organization and a development of Form, corresponding to which is the
formation of the subject. This is the passional regime of feeling as "the
form of the worker." Feeling implies an evaluation of matter and its resistances,
a direction (sens, also "meaning") to form and its developments, an
economy of force and its displacements, an entire gravity. But the regime of
the war machine is on the contrary that of affects, which relate only to the
moving body in itself, to speeds and compositions of speed among elements.
Affect is the active discharge of emotion, the counterattack,
whereas feeling is an always displaced, retarded, resisting emotion. Affects
are projectiles just like weapons; feelings are introceptive like tools. There
is a relation between the affect and the weapon, as witnessed not only in
mythology but also in the chanson degeste, and the chivalric novel or novel
of courtly love. Weapons are affects and affects weapons. From this standpoint,
the most absolute immobility, pure catatonia, is a part of the speed
vector, is carried by this vector, which links the petrification of the act to
the precipitation of movement. The knight sleeps on his mount, then
departs like an arrow. Kleist is the author who best integrated these sudden
catatonic fits, swoons, suspenses, with the utmost speeds of a war machine.
He presents us with a becoming-weapon of the technical element simultaneous
to a becoming-affect of the passional element (the Penthesilea equation).
The martial arts have always subordinated weapons to speed, and
above all to mental (absolute) speed; for this reason, they are also the arts of
suspense and immobility. The affect passes through both extremes. Thus
the martial arts do not adhere to a code, as an affair of the State, but follow
ways, which are so many paths of the affect; upon these ways, one learns to
"unuse" weapons as much as one learns to use them, as if the power and cultivation
of the affect were the true goal of the assemblage, the weapon being
only a provisory means. Learning to undo things, and to undo oneself, is
proper to the war machine: the "not-doing" of the warrior, the undoing of
the subject. A movement of decoding runs through the war machine, while
overcoding solders the tool to an organization of work and of the State (the
tool is never unlearned; one can only compensate for its absence). It is true
that the martial arts continually invoke the center of gravity and the rules
for its displacement. That is because these ways are not the ultimate ones.
However far they go, they are still in the domain of Being, and only translate
absolute movements of another nature into the common space—those
effectuated in the Void, not in nothingness, but in the smooth of the void
where there is no longer any goal: attacks, counterattacks, and headlong
plunges.80”
Kritik som inte är tänkt att/till för att hjälpa är endast en slags sadistisk sabotagehandling, en slags hämnd med hjälp av Jante och stödd av framgångshets (som får Jante att framstå som en skyddsängel)
"In a famous statement, Andre Breton once asserted that criticism can exist only as a form of love"..
http://books.google.se/books?id=v1C6E_zJi6UC&pg=PA7&lpg=PA7&dq=Andre+Breton+critique+can+only+be+a+form+of+love&source=bl&ots=AyiJaWUMH7&sig=V97UQoMeCtrztNqi5qd5hQlYuPs&hl=en&sa=X&ei=IxLrTpTdF4WB4gSO3tCWCQ&sqi=2&redir_esc=y#v=onepage&q=Andre%20Breton%20critique%20can%20only%20be%20a%20form%20of%20love&f=false
well, I'm not sure
K;aS;s
"In a famous statement, Andre Breton once asserted that criticism can exist only as a form of love"..
http://books.google.se/books?id=v1C6E_zJi6UC&pg=PA7&lpg=PA7&dq=Andre+Breton+critique+can+only+be+a+form+of+love&source=bl&ots=AyiJaWUMH7&sig=V97UQoMeCtrztNqi5qd5hQlYuPs&hl=en&sa=X&ei=IxLrTpTdF4WB4gSO3tCWCQ&sqi=2&redir_esc=y#v=onepage&q=Andre%20Breton%20critique%20can%20only%20be%20a%20form%20of%20love&f=false
well, I'm not sure
K;aS;s
tisdag 6 december 2011
men män
"begreppet feminism är problemtatsikt"
du e problematisk.
"jag kallar mig inte feminist, jag kallar mig humanist/jag jobbar för jämställdhet"
jag skulle hålla med; om jag aldrig haft kontakt med verkligheten; om jag aldrig träffat en kvinna som blivit utsatt för sexuella trakasserier, för manligt våld, för könsdiskriminering - dvs: om jag aldrig träffat en kvinna.
"vi är ju alla lika: inför lagen, och vi har alla vår fria vilja och väljer våra liv"
det är fan inte upp till dig att definiera att vi alla är lika, du har hittat på lagen, du har definierat friheten
kaSs: intervjuar* 'en man'
*vilket ju brukar gå till så att mannen påstår och alla andra tänker tyst för sig själva
du e problematisk.
"jag kallar mig inte feminist, jag kallar mig humanist/jag jobbar för jämställdhet"
jag skulle hålla med; om jag aldrig haft kontakt med verkligheten; om jag aldrig träffat en kvinna som blivit utsatt för sexuella trakasserier, för manligt våld, för könsdiskriminering - dvs: om jag aldrig träffat en kvinna.
"vi är ju alla lika: inför lagen, och vi har alla vår fria vilja och väljer våra liv"
det är fan inte upp till dig att definiera att vi alla är lika, du har hittat på lagen, du har definierat friheten
kaSs: intervjuar* 'en man'
*vilket ju brukar gå till så att mannen påstår och alla andra tänker tyst för sig själva
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