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“To affirm is not to take responsibility for, to take on the burden of what is, but to release, to set free what lives. To affirm is to unburden: not to load life with the weight of higher values, but to create new values which are those of life, which make life light and
active”

this is the limit of a “theory” of democracy, the point at which theory runs into a wall. Only social practice can break through this wall, by giving body to the process of political assemblage.
یکی از زیباترین جمله ها! باید به مدد پراکسیس اجتماعی، دیوار تئوری را شکست....

In the passage of freedom, then, from multiplicity to multitude, Spinoza composes and intensifies anarchy in democracy. Spinozian democracy, the absolute rule of the multitude through the equality of its constituent members, is founded on the “art of organizing encounters.

Just as Spinoza's claim of the autonomy of the attributes is an attack against the Cartesian primacy of thought, against the theoretical framework that effectively subsumes the body within the order of the mind, so too our Deleuzian claim of the autonomy of practice is a reaction to conceptions of a primacy of theory that effectively subsume practice within theory.

In other words, we should remember that common notions refer principally to a physics of bodies, not a logic of thought

Just as we continually descended within the internal structure of power, here too we must descend to the lowest, most local, level of commonality to initiate our practical project
منظور مایکل جان " انبوه خلق" میتونه باشه:)

An encounter between our body and this other body will necessarily be joyful, because the common relationship guarantees a compatibility and the opportunity to compose a new relationship, thereby increasing our power.

در فصل دوم خوابی تعریف میشه که شخصی درآمیخته با جریانی از آدم ها ، زنبورها و بادیه نشینانه. این فرد در مرز این جریان قرار داره. و تلاشی میطلبه که اتصال خودشو با این کلکتیوِ پر جنب و جوش حفظ کنه. حال آنکه به این جمع تعلّق هم داره. انگار با اندامی به این جریان وصله.
جریانی که ریتمی رو دنبال نمیکنه. این وضعیت در عین حال که شدید و سخته، لذتی مدهوش کننده هم درش هست!

There is no innocent or objective reading of the world, of society, of political economy.

the power to think and know cannot be greater than a necessarily correlative power of existing.

هیجانِ آفرینشگر

عنصر ناب، ابژه ندارد بلکه صرفا واجد ذاتی است که خودش را بر ابژه های گوناگون، حی.انات، گیاهان و همه ی طبیعت میگستراند.

مفهوم "قصه بافی" دلوز برام جالب شد.....

Just as the Theses on Feuerbach and The German Ideology are said to constitute a “break” in Marx's thought, so too the analysis of power functions as a point of conversion in Spinoza: It is the moment in which we stop striving to think the world, and begin to create it.

The affirmation of speculation and the joy of practice are the two threads that weave together to form the general design of the Ethics.

ترجمه ی غلامی افتضضضاحه! تازه در تطبیق با متن اینگلیسی، غلط هم پیدا شد.
یک خطش هم به زور میفهمم....

to join the passion by means of their forces, instead of regarding them as pure abstractions, confers a mastery upon the actor...

thus, we shall rejoin the ancient popular drama, sensed and experienced directly by the mind without the deformations of language and the barrier of speech,

the language of theater aims at encompassing and utilizing space, to make it speak.

it seems that the highest possible odea of theater is one that reconciles us philosophically with Becoming, suggesting to us through all sorts of objective situations the furtive idea of the passage and transformation of ideas into thins, much more than transformation and stumbling of feelings into words.

it is the question then of making the theater, in the proper sense of the word, a function; something as localized and as precise as the circulation of the blood in the arteries or the apparently chaotic development of dream images in the brain.....
عجبببببب

enough of personal poems, benefiting those who create them much more than those who read them!

the public, which takes the false for the true, has the sense of the true and always respond to it when it is manifested. However, it is not upon the stage that the truth is it be sought nowadays, but in the street; and if a crowd in the street is offers an occasion to show its human dignity, it will always do so.

it must be said that the domain of the theater is not psychological but plastic and physical,