la Deleuziana 10 (2019)

We all know by now why a kid starts whistling in the middle of a territory unknown. Refrain builds up a milieu, deterritorialising all the forces of the unknown with the ear of an other. However, have we as yet considered how the ear gets into resonance with the transformation of the unknown into the known? In other words, are we capable of knowing the unknown as such? Are we capable of translating the rhythms of the unknown into the known? And if yes, what are those issues that we put at risk in such a move? Without doubt, Heidegger and Agamben would be of great help for us to discover the aletheia of rhythm, as if it is possible to know what rhythm is. However, our intention here is to talk about ears, rhythms, deterritorialisation of the ears without falling into the trap of phenomenological circle. Dear rhuthmos, is all our knowledge of rhythm circumscribed by a division that cannot be maintained by an ear?
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The Man Without Content.Giorgio Agamben - 1999 - Stanford University Press.

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