`Passion-Affect’:
Prelude: Passion into Affect.
How does one turn ones own feeling of rejection and hate into a general problem? How does one make it another’s concern? The game is to remove the specific context of what one is feeling, and create a feeling, r better a direction or an intensity of feeling that everyone or any one can. Then share. This move has three parts. Firstly one must extemporalize with what ever other feelings others have about oneself. The feelings of hatred or friendship they have must be forced to be a part of a feeling in a spectrum. No longer merely centres on what one is, they need to become about a profession or a series of people or a set of ideas. One might be condemned, but then only as part of something else, which includes other, and inspires other feelings also. Secondly one needs to hide one own feelings within the process. If people are very aware of ones own passion then no affect will spin. To make the affect version of the passion, to create therefore the shared, one needs to top simply owning a series of feelings which inspires the action. Ones own personal gripes must be left t the door. Ones own selfish motives. The affect spins u of it own centre; it will remain frustrated passion if anchored to well in others feelings. Thirdly affects only infect others if they reflect something already in the air. An affect does not therefore simply creative, so much as partially resolve. It gives a names to echoes of feelings and partially animated thoughts, feelings and thought that would never otherwise be thought or realize. It give then the context into which the mind caught up feeling the affect. There must be something in the air, for the affect to thrive and multiply. There must be some echoes feelings in animates.
The First movement Passions.
What makes a passion/ Why is a passion passionate in my body, and not in the world? one needs a demonology for passions, a series of necessaries.
a)passions are bounded elements. They are bound to a body or a building or some physical structure, be it the Jolly porter or a human body. This being is in a double sense. firstly the body sets the limits within which the passion is. It creates therefore a physical domain. Secondly and more importantly in creates a den for passions. The Jolly porter is a pub with to fonts. The long exposed water front which people could to enter or leave, an the hidden back door by which people went in or left. It therefore take in things in some hidden way (as the eyes take light inn how clear way, they merely do). What s obvious and what is revealed is a bland façade, and not this taking this tumbling. The Body therefore insists upon a one way exchange. The world is taken in, and caught within something else, a something which is revealed in another mood and elsewhere in the world.
b)That which takes up the world, the structure is a union of many times, all piled one on top to the other. Its stout walls contain myriads of times, and many different relation, all bent into one dark building.
c) The communion of the port of then inside is commanded by exchange. Information goes around and around in an exchange. The inside is there highly volatile and shifting. Full of rumour and drink.
d)However this exchange is a govern one. Ye sits other the passionate forces a single master mind who directly their action and reaction. Her role is therefore the role of the supervisor, who as long as she is not overwhelms can direct passions in certain ways. Her role is therefore to known, to understand, and to govern.
e) One does not enter hr property without paying the price for that government. Passions are what she has, they are what she control and sends on little journeys of their own. passion are her mastery. And passions pay the price f being under that mastery to enter the body at all.
f)However in this she has a deep weakness. Passions are bound affects, and therefore share with affects the problem of never being as clear. A passion or an affect is therefore open in the sense that it has a reality that could be about many different people or things. It is very easy to mistake a feeling for another, and very very easy o give it the wrong application.
g) The mistress and her community is therefore caught up in making necessarily errors. The logic of her position is that she must decide, must label hat happens to her community. She must therefore define a passion for her body of people. Passions cannot be left unresolved (as affects always are). To my body as a whole, thought as a community they need to have a able and create an action.
h)As a part of this judgement is the fact that the master kind is heavily influenced by looks: One chooses who one worries about because of the look of their body, therefore(Liz and not Patience) – and acts accordingly. This fact is not an additional extra. IF one is making arbitrary shot gun synthesis in order to steer course to act by, the argument could scarcely run any other way.
i) That is she needs o defines a domain for them to be acting in, a domain beyond the immediate range of the passion itself.
j)Or to put it slightly differently, she needs to resolve feeling according to the needs of her body, and in resolving the body .She can tell the rumour apart for the reality, and never really gives herself time to.
k) A passion needs an answer. She might deliberate a little about that answer. But what remains clear is that in answering the deliberateness the action are kept apart. A passion, and the reaction in action it provokes remain as a part.
l)The bodies ability to act in itself, is bought at the price that this action itself becomes as an affect. It therefore necessarily encompasses many different direction, and is open to many different possibles. One acts in the name of… each action must apply to other context and many elements (only some of which one can know).
m)The body of the passion therefore follow the bergson agenda (well to a degree, Hum thought it first). I imposes a gap between an passion or a feeling which defined within a rumour mind. This rumour mill loses by defining the ability to revolve the feeling as such (it therefore presents in itself across itself an affect).
n)What resolves this community is the master mind, the direction the deciding that this time I will chose, I must choose, I must act.
o) The action is different in kind from the rumour, I ac, and as I acts it resolves the rumour into a certain pattern. That which might have been arranged across many polls becomes resolved into a certain action. And action which includes injustice, and elements that really could be allowed to be apart. An action then as the body as a whole acts, falls upon the world, and becomes a thing for itself.
p) Passions are therefore caught in the paradox As the rumour is caught n the rat trap of a body, it remains an affect in that its parts cannot be resolved. The same rumour spreads and becomes to be about many different people an things, it becomes therefore unjust (it included Riderhood and the Gaffer in h same rumour).the action is then makes are based on this panning our of a rumours as t is caught within the body as a whole. In this panning out one acts against the entire rumour (as it is in the body), and in acting one is done with it. It is over for oneself.
q)And yet the action, which is of course injustice in itself, is then pitched into he world, and taken up as if it were a reflection in the do aim of affects. I becomes therefore caught in exchanges beyond the body that revolved and acts.
r) Bodes and passions therefore serve as a kin in the domain of affect. The surface some elements together, and force them into an action. The acid then is taken up, after the kin, after the point of odd union and possible synthesis.
s)The synthetic is a cough a kink in the smooth direction of the affect, the point it is twisted in a shot gun union which includes elements that ought not to be resolved this way, and made sing otherwise.
Second movement the Affect.
Affects by contrast take up a refrain which cannot be caught in any one individual. This fact leads them to there own developments.
a)affects unlike passions, are open o what is fizzing of from events and what is not. They remember therefore the occasion the exchange started, they remember the passions, and are aware how those passions might seek their revenge in the mind of others. They see then passions which are fizzing into affects.
b) However in being so aware they are also open o that other point. The passion is moving into an affect will always reflect something. T is not utterly untrue. It will reflect to a degree something hat is there. There is a genuine thread of violence in the Gaffer. He right be a murderer, in another life or if the mood music changed a little he would murder. He is in a profession moreover where either he or his partner Riderhood is likely to be a murder.
c)Moreover the affect knows that as a rumour spreads it will animate and change those which it. They will alter it in these actions and trough their reaction to it.
d)Affects spin into difference, as not only does everyone hear it differently, but also in acting it, they pitch it back into the world, they make the rumour again matter. There reaction and their action is a part in its tale.
e)The affect is the eddying flow of the river (which bounds all parts of the story so far, and which Lizzy sits by and thinks). It therefore hooks up the elements and animates different reactions to an event. It animated them, in shafting feelings into one another.
f)As she thinks she realizes that the affect version of the rumour of Gaffer-Riderhood the murder has its own momentum, and demands it own action, and possible injustice she knows then that she cannot set passively by, and let the rumour as affect overwhelmed he and her brothers life She acts then as if part of the rumour was right, to safe Charlie from its consequence.
g)The affect therefore forces one to act as it were true, and according to a degree of truth within it. But it leaves in this unresolved and as a matter of little consequence the issue of how much of this truth is real or not.
h)In a sense it does not matter. The affect reveals in its noisy demands hidden depths. It serves then one to inspire action and creation that perhaps one ought t have done before, and that perhaps without the affect on would never had the courage to do.
i) It is therefore very much the still small voice, forcing actions that have been in the back of ones mind for any a year out – making them matter, and making them as real.
j)The affect therefore binds up actins that are shafted into it. In doing so though it opened the mind to visions that perhaps one would not have. That is in crystallizing the beyond, it allows one seen the fire what else in another’s mind, the hidden feeling or possible consequences they are not acting on. The Gaffer is no murders and yet… visions of him the murderer haunt the image of the affect, and affect it. One sees death in him and through him. Death surrounds him. He lives then the live of the murders without the killing. A reality that only an affect encompass.
k)The affect therefore makes one beyond what one has a right in the formal sense t know. It takes one into the hinter h
l)and another actions, the ones others do not at upon, and yet which influence what they are.
m)On must act then in he knowledge not merely of what is, but also according to the vision of what else it, given in this hinter land.
n)One must act knowing hat his action will the inhabit the inter land partially revealing, it, and yet also allowing one in seeing it, to change it is someway, or at least ensure that it presence does not infect everything o is not all there is, or might go somewhere else…
Finale affect into passion.
First part: How does one take p an action and give it ones own domain, ones own passions? The problem here is to decide where one is. if one simply applies the affect o the passion in oneself then it will appear horrific and selfish, an one must generally attempt to forget this fact. On the contrary one must shaft the affect into the history one already has as a genuinely creative force, without worrying overmuch about the consequences of this shafting. It will therefore break upon the mind as a possibility that one can own, as a thing which will allow one to be what one always wanted. One therefore turns it into a passion the claim to own what is not really comes into its own, and therefore through a shaft of utter selfishness. Selfishness which is however luminous, and will have shining within it as the thing owned the crystal of the affect, as it applies what one is. On ones by taking p another feeling or many others feeling as ones own and making them merely an adjunct in ones own destiny’s part that is in what one self was all along. One owns in selfishly acing what one always wanted to do. one acts I acting in a way hat essentially will remove one from the domain of the affect in the first place
One makes an affect ones own passion therefore be feeling it to be the fulfilment of a prophecy, and the spur to an existing desire.
The second part will have the same affect as one can invent a passion which might reflect it and inhabit as is citizen (without needing to directly own it). As such one will need not to act on ones own initiative not to do anything. but rather what one shared in acting, in feeling is what the affect would make one if it were wholly true. The gaffer stabs the bread as if it were a body. In that action the affect is seen and caught and yet for the Gaffer that stab is merely the pain he feels when his son leaves him and he is band from the community of the jolly porters. Cut of from people and left he feels abandoned and alone, and in that context the murder in him bubbles up and is revealed. And yet of course it is also contained. The stabbing arm, a the fear of lizzy limit what is likely to do to. That he always could be a murder was never at stake. It was clear. The fact is though he is not really, and never actually. AA
The stab he feels as he feels pain, the murder therefore within as context, and within the prism of the genuine love he can feel for Lizzy. He will not murder as long as he has her. The Gaffer the murder is therefore caught the prism of the Gaffer the loving father, and held down. H is a citizen of the river, of the flowing act, bound to it in the sense of that he is a violent mane, and yet held down in the boat of his feelings for Lizzy.
She, the mistress of affects might be caught in this relation (although to flee to the jolly Porter is o be caught another way), but he is liberate from the assassinating effects of the affect – he is allowed to be a passionate man with a redeeming quality even as he lives inside the affect itself.