RHYTHM and REFRAIN.Indd

Rhythm and Refrain: In Between Philosophy and Arts Rhythm and Refrain: In Between Philosophy and Arts Jūratė Baranova Laura Junutytė Lilija Duoblienė MONOGrapH VILNIUS, 2016 UDK 1:7.01 Ba407 The monograph was discussed and recommended for publication at the meeting of the Department of Philosophy (14 November, 2016, Protocol No. 35) and at the meeting of the Faculty of History Council at the Lithu- anian University of Educational Sciences (17 November , 2016, No. 12). Reviewers: Prof. Tomas Sodeika (Vilnius University) Prof. Gintautas Mažeikis (Vytautas Magnus University) This study is the result of the project Gilles Deleuze: Philosophy and Arts financed by the Research Council of Lithuania (No. MIP-067/2014) Design: Rokas Gelažius Scientific editor: Bernard George Meyer Editor: Kristina Noreikienė The photo and the installationThe Flag (1990, oak, mahogany, 48×47 cm) on the cover page by Gitenis Umbrasas © Jūratė Baranova, 2016 © Laura Junutytė, 2016 © Lilija Duoblienė, 2016 © Lithuanian University of Educational Sciences, 2016 ISBN 978-609-471-079-7 CONTENT Introduction 9 I. DELEUZE AND GUATTARI: RHYTHM AS A PHILOSOPHICAL CONCEPT 23 Jūratė Baranova Rhythmic Differenceversus Metrical Repetition 25 Rhythm-Chaos as the Chaosmos 36 The Rhythm of Sensation: Music and Painting 44 II. PHILOSOPHY AND LITERATURE: RHYTHM AND LIFE 51 Jūratė Baranova The Concept of Rhythm in Proust’s Novel 53 Rhythm and Ontology: Deleuze and Levinas 57 The Different Worlds of Signs and Different Rhythms 59 Rhythm, Time and Space 65 III. PHILOSOPHY AND CINEMA: RHYTHM AND TIME 69 Jūratė Baranova Rhythmic Montage in Soviet and French Classical Cinema 71 The Rhythm of Dark and Light in German Expressionism 80 5 Alternative Rhythm of Light and White in the Cinema of Spiritual Choice: Bresson 96 The Arhythmic Flow of Reality: Phenomenology, Bazin and Italian Neorealism 108 Cinematic Inspirations for the Crystals of Time: Zanussi, Herzog, Tarkovsky 116 Rhythm and Time versus Cinematic Language: Tarkovsky and Deleuze 127 The Rhythm of Body and Thought: Artaud and Deleuze 140 IV. PHILOSOPHY AND PAINTING: RHYTHM AND SENSATION 165 Laura Junutytė Rhythm in Painting 167 Synesthesia: Klee and Čiurlionis 169 Deterritorialization as Cosmic Escape 181 The Sobriety of Assemblage and Becoming-Child 189 Klee and Kandinsky: Mannerism against Essentialism 199 Sensation in Painting: Cézanne and Bacon 204 Diagram-Chance: From Chaos to Rhythm 215 V. PHILOSOPHY AND MUSIC: DETERRITORIALIZATION AND REFRAIN 229 Lilija Duoblienė Refrain in Nature and Art: Territorial Transcodance and Faciality 231 Artistic Refrain: From Singing Everyday to Becoming Music, Becoming Cosmic 239 The Small and Great Refrain: Bryars’ Diagram 247 The Small and Great Refrain: Herzog’s Diagram for Wagner 253 Becoming Cosmic in a (non)Deleuzean Way 258 6 Improvisation as Deterritorialization: Waiting for the Unexpected 268 Between Personality and the Body Without Organs: Keith Jarrett 274 Unformed Sound in Multimedia Composition: Andrius Šarapovas’ Silverdust 285 Different Arts and Common Rhythm in Composition 289 Compositional Rearrangement: The Art Machine of Unformed Sound 297 Literature Sources 303 Santrauka 328 Index 329 7 Paul Klee. Rhythmic. 1930. Oil on canvas. Introduction This book was inspired by theDeleuze Studies conferences in Lisbon (2013), Istanbul (2014), and Rome (2016), as well as conferences in Ghent (2015) and Dublin (2016). The three authors of the book presented their papers at these conferences1. This book also relies on the Deleuze Studies journal and all the books on Deleuze published by the Edinburgh University Press. It engages with the works of Anne Sauvagnargues, Ronald Bogue, Ian Buchanan, Alphonso Lingis, Stephen Zepke, Gregg Lam- bert, Andre Pierre Colombat, Eugene W. Holland, François Dosse’s Gilles Deleuze and Félix Guattari: Intersecting Lives. The book has an interdisciplinary intention: relying on insights by Gilles Deleuze (1925–1955) and Félix Guattari (1930–1992) to find lines of thought for navigating from philosophy to the arts and back, as well through different art forms: literature, painting, cinema, and music. Taking into account and relying 1 It was written after ten years of studying Deleuze’s texts with master of philosophy students in the Department of Philosophy at the Lithuanian University of Educational Sciences. 9 on the dynamic cartography of problems and concepts (force of life, style, etc.) mapped by Sauvagnargues, Buchanan, Bogue, Zepke, etc. as Deleuze’s tools for thought experimentations with arts, this research is an attempt to take one more step further and to include some other concepts practicable in reflecting upon philosophy’s meeting with other different arts. Such are the concept of rhythm and refrain. In the realm of the arts the concept of rhythm, first of all, is applied to describe the features of the experiences of music, poetry and dance. The rhythms as the patterns of stress and intonation in a language are discussed as prosody in poetry. Musicians expand Plato’s definition of rhythm as “an order of movement” and define rhythm as the organic process of music in time: it is music’s direction in time. But Deleuze and Guattari broaden the limits of the usage of the concept. In Cinema 2: The Time-Image (Cinema 2 – L’image-temps, 1985) Deleuze quotes Alejo Carpentier’s insight from French theoretician of cinema Jean Mitry’s book Esthetique et psychologie du cinema, saying that even “Conversation has a rhythm, a movement, an absence of sequence in the ideas, with, on the contrary, strange associations, curious reminders, which bear no resemblance to the dialogues that usually fill’ novels and plays” (Deleuze 1989: 322). The concept of rhythm unites three heterogeneous realities: the world of the nature, the social world and the realm of the arts. The concept’s origin stems from the Latinrhythmus and from Greek rhythmós (see also sreu- in Indo-European roots) and designates the movement or variation characterized by the regular recurrence or alternation of different quantities or conditions. The world of nature, the sequence of regularly recurring functions or events expresses by the rhythm of the cosmic movements, the alteration of the day and night, the 10 change of the seasons, and the rhythm of the living hearts, the rhythm of the ovulation, etc. There is the common rhythm of the universe. The social world is also organized by its own rhythms. It is very visible in societies with dum experiences and voodoo practices. There is a rhythm of a dance, the rhythm of a language, the rhythm of a speech. Rhythm is different from refrain. Rhythm stems from refrain: “Children’s, women’s, ethnic, and territorial refrains, refrains of love and destruction: the birth of rhythm” (Deleuze, Guattari 1987: 300). Their difference is rather subtle. Milieus and Rhythms are born from chaos, say Deleuze and Guattari. Every milieu is vibratory, in other words, a block of space-time constituted by the periodic repetition of the components. The milieus are open to chaos, which threatens them with exhaus- tion and intrusion. “Rhythm is the milieus’ answer to chaos. What chaos and rhythm have in common is the in-between – between the milieus, rhythm-chaos and the chaosmos…” Deleuze and Guattari say (Deleuze, Guattari 1987: 313). Jūratė Baranova in the first chapter “Deleuze andGuattari: Rhythm as a Philosophical Concept” deals with the questions: Why is Rhythm so Important to Guattari and Deleuze? How does Rhythm from a musical concept become a philosophical one? She notices that the Deleuzean insights about rhythm in Difference and Repetition (Différence et repetition, 1968) have their origin not in arts, but first of all in mathematical, biologi- cal, genetic, and psychoanalytic sources. Art has something to do with the ontological repetition, which Deleuze discerned beyond physical repetition and psychic or metaphysical repetition. But genetics and biology are primary sources of different rhythms. They seem to integrate a much more intensive force than art. How is repetition connected with rhythm? Deleuze 11 is more concerned with justifying or detecting the differences between repetitions by their kind and rhythm. Therefore, he defines the difference between two important psychological drives invented by Freud – Eros and Thanatos – as the two drives of different rhythm and amplitude. Deleuze also discerns two types of repetition: static and dynamic, taking into account that they have different rhythms. The study of these rhythms -al lowed Deleuze to distinguish two kinds of repetition: cadence- repetition and rhythm-repetition. In order to distinguish these two types of repetition, Deleuze suggests the criterion: regularity of time. Cadence-repetition is a regular division of time, an isochronic recurrence of identical elements. He also discerns a poly-rhythm. Is it repetition which does something in common with rhythm? It seems not at all. In A Thousand Pla- teaus: Capitalism and Schizophrenia (Mille Plateaux. Capitalisme et Schizophrénie: 2, 1980), Deleuze is already influenced by French composer, organist and ornithologist Olivier Messiaen (1908–1992) and also Guattari, so they both change the accent and formulate very clearly: “It is the difference that is rhythmic, not the repetition, which nevertheless produces it: productive repetition has nothing to do with reproductive meter” (Deleuze, Guattari 1987: 314). How does Rhythm as a philosophical concept unite painting and music? Baranova notices that “the most musical chapter” of “the most musical book,” “1837 – De la ritournelle (1837: Of the Refrain)”, starts not with a discussion on music, but on reflec- tions upon the possibility to find the calm and stable centre in the heart of chaos. The philosophers discern three steps in this way leading to the centre surrounded by chaos: the first step is singing the little songs of those who are lost in the dark. The second step is creating a wall of sound by sonorous and vocal 12 components enabling it to resist or even take something from chaos. In creating this wall, the rhythmic moving in a cycle plays a very important role.

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