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Fr. 358

July 4, 2013

As an example of Deleuze’s interdisciplinary interference (e.g. between science and art, art and philosophy, art and art, etc.), consider the following case. Two floors below, a diligent music student is practicing, and the notes and tones of his piano drift up through a classroom’s open window, where an earnest, young writer takes down the sensations that the playing inspires in her. In both cases, one is faced with creation. Relatively speaking, the playing of the piano might here be termed first or originary and the recording of sensations in prose or poetry second or derivative. Yet, as indicated, these terms are relative, and the derivative creation of the writing is no more secondary than that of the piano-playing in that all creation starts from something already created, including the notes of the piano player (more so if it happens to be a priorly composed piece). In both cases, creation is thus provoked. This is not, however, the essential, for it should be remembered that the writing of the writer, though inspired by the playing of the player, is in no way an attempt to recreate that playing in writing. The two artists are doing independent though related things. In no case is the writer a writer of that music, attempting to redo in words and syntax what that player captures in notes and tones. Instead, the writer creates words and syntax for the music, resources that were not previously available to it and to which it would never give shape of itself. Similarly and on a final note, were the player to read the words and syntax of the writer and himself write a piece “deriving” from the writer’s work, he would in no way be reproducing the writer’s work or even his own piece that inspired the former. Indeed, this new piece would stand on its own as a piece creating resources that were not previously available either to the writer or to the player himself. Hence the necessity of interference, both interdisciplinary and intradisciplinary.

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