Subbody Butoh Books
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The Butoh (Second edition)

Rhizome Lee

20USD


 
The Butoh - a dedication to Hijikata Tatsumi is a dense and rich summary of Rhizome Lee's dedicated research into the world of the Japanese master of butoh. This precious edition includes some unpublished translations of Hijikata's butoh-fu. Rhizome Lee invites us into an unknown labyrinth of creativity, and the life resonance world that arrives to us through dance.

Paperback 500 page

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Qualia as Life Resonance

Rhizome Lee

2.99$


 
   I have investigated in what are Qualia for 20 years,
with listening into the darkness of body,
and condensed all of the essense of them in this book.
Butoh is to dance the Qualia.
It's invisible, but we can resonate with it.
Characteristic of my finding is that Qualia are Life Resonance,
not only human beings, but also all kinds of Life
even a single cell organism is resonating with Qualia.
This will be a textbook of the Subbody Resonance Butoh class.
New and old students!
Please read this and prepare for new semester.
Now you can read the FREE sample.
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   Sinking into the Darkness of Body
Rhizome Lee
   Foreword

I sunk into the Darkness of the Body and investigated in the Darkness for twenty years at the Subbody Resonance Butoh School in Himalaya India.
What is the Darkness of Body?
Simply, it is subconscious world.
It is completely different from the daily world.
It is non-dual and multi dimensional resonance world of Life Qualia.
Qualia is everything which Life resonates.

When we stop daily conscious mind and listen to the subtle signs around body and inside body, the subconscios and body is not separated like conscious mind and body in the daily world. The subconscious and body is merged as oneness in that realm.
We call it "
Subbody".
This book is a record which I sunk into the Subbody world with whole body=mind=brain for twenty years.
In the Subbody world, there are so many strange things;
hidden chractor, shadow, not-me, dissociated personality, and various archetypes which all human are imprinted in the depth of Subbody world.
Jung called it "Collective unconsciosness".
In the deeper realm of Subbody world, the difference between self and others is disappeared.
We called it "
Cobody" in the beginning of research. But we found that in the deeper realm of the darkness of body, Subbody and Cobody are also become oneness.
Subbody changes to Cobody ,and Cobody transforms Subbody easily by Life Resonance.
And if we enter much more deeper realm,
Subbody=Cobody transform beyond all kind of borders; Present and Past, Life and Death, Here and Anywhere, Individual and Kind, and so on infinitely.
Now we call it "
Resonant Rhizome" and are investigating with enjoying.
You can travel the history of investigation of the Dakness of Body together with us.
Please enjoy it.


Price 2.83 USD

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Abyss of Quiet House
Rhizome Lee


   
The 1st and 2nd part of "The Butoh" which I have continued to write on the site, was published on Amazon. Please read it!


Price 2.99 USD
 
 Why Butoh is so Dark?
So Weak, so Ugly, so Deformed?
What is the Necessity of Weakened Body?


This book is a histry of struggling around these questions for fifty years.
Because there were other tendencies against weakened body in my darkness of body. I continued to listen to my Life, "What do you want to do most?" and also to Hijikata's Necessity of the Weakened body in his Life every day, every night. And finally it became oneness.
The essence of Beauty is Life Resonance.
When we become the weakest being, it is able to resonate with every Life including deformed, warped, injured, disabled, near death Life, on the planet.

Rhizome Lee

   Now on Amazon!!

Behind the Mirror
Rhizome Lee


   
Subbody Butoh Method by Rhizome Lee was published as a guide book for students.
It contains all of article on Subbody Butoh Website during 2005-2010.
Contents:
Practice Guide, School Journal, The Butoh (Part 1 and 2), The Life, The Qualia, The Resonance and so on. 232 Page

Price: 1 Book 2.99 USD)
Please visit the following page on Amazon.

http://www.amazon.com/dp/B01AP9869W?ref_=pe_2427780_160035660


To read Kindel book in your PC, it is convinient by downloadable Kindel Preveiwer.

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Books Link Recomended Books
for studying subbody method
   
 
 8 September 2018

"Rhizome" Deuleuze & Guattari


A book that decided my Life



There is no big influence given to me as much as this book.
When I have read it, immediately Rhizome and I became oneness by strong Life Resonance.
1970' I have hated the old-fashioned centralized system of the revolutionary party that I was engaged at that time in the Anti-Vietnam War movement. And I was looking for a way that builds another way of the human relationship.
"Rhizome" of Deluze=Guattari was perfect for the desire of my Life at that time.
After that, I bet on my Life to realize the Rhizome.
I changed my name to Rhizome Lee and investigated in to realize the Rhizome in Butoh creation.
It took me a long time to realize that my ego has to take off the influence of the dualistic Tree-like hierarchic system, and it became possible to break it by myself just recently. I am reading this book again now. Even after reading for 40 years, it is still a book that is fresh and learned a lot. I encourage you to read this by all means.
If you do not have time, please read it only in marking with yellow color. That is the essence of the essence of the Rhizome.



Read more "Sinking into the darkness of body"


 

Rhizome

Introduction of A Thousand Plateaus
by Deleuze & Guattari

(Minneapolis: University of Minnesota Press, 1987)

tr. Brian Massumi

 

The two of us wrote Anti-Oedipus together. Since each of us was several, there was already quite a crowd. Here we have made use of everything came within range, what was closest as well as farthest away. We assigned clever pseudonyms to prevent recognition. Why have we kept own names? Out of habit, purely out of habit. To make ourselves unrecognizable in turn. To render imperceptible, not ourselves, but what makes us act, feel, and think. Also because it's nice to talk like everybody else, to say the sun rises, when everybody knows it's only a manner of speaking. To reach, not the point where one no longer says I, but the point where it is no longer of any importance whether one says I. We are no longer ourselves. Each will know his own. We have been aided, inspired, multiplied. A book has neither object nor subject; it is made of variously for matters, and very different dates and speeds. To attribute the book subject is to overlook this working of matters, and the exteriority of their relations. It is to fabricate a beneficent God to explain geological movements. In a book, as in all things, there are lines of articulation segmentarity, strata and territories; but also lines of flight, movement deterritorialization and destratification. Comparative rates of flow on

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these lines produce phenomena of relative slowness and viscosity, or, on contrary, of acceleration and rupture. All this, lines and measurable speeds, constitutes an assemblage. A book is an assemblage of this kind, and as such is unattributable. It is a multiplicity-but we don't know yet at the multiple entails when it is no longer attributed, that is, after it has been elevated to the status of a substantive. One side of a machinic assemblage faces the strata, which doubtless make it a kind of organism, or signing totality, or determination attributable to a subject; it also has a side facing a body without organs, which is continually dismantling the organism, causing asignifying particles or pure intensities to pass or circulate, and attributing to itself subjects that it leaves with nothing more than a name as the trace of an intensity. What is the body without organs of a book? There are several, depending on the nature of the lines considered, their particular grade or density, and the possibility of their converging on "plane of consistency" assuring their selection. Here, as elsewhere, the units of measure are what is essential: quantify writing. There is no difference between what a book talks about and how it is made. Therefore a book has no object. As an assemblage, a book has only itself, in connection with other assemblages and in relation to other bodies without organs. We will never ask what a book means, as signified or signifier; we will not look for anything to understand in it. We will ask what it functions with, in connection with what other things it does or does not transmit intensities, in which other multiplicities its own are inserted and metamorphosed, and with what bodies without organs it makes its own converge. A book exists only through the outside and on the outside. A book itself is a little machine; what is the relation (also measurable) of this literary machine to a war machine, love machine, revolutionary machine, etc.-and an abstract machine that sweeps them along? We have been criticized for overquoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into, must be plugged into in order to work. Kleist and a mad war machine, Kafka and a most extraordinary bureaucratic machine ... (What if one became animal or plant through literature, which certainly does not mean literarily? Is it not first through the voice that one becomes animal?) Literature is an assemblage. It has nothing to do with ideology. There is no ideology and never has been. All we talk about are multiplicities, lines, strata and segmentarities, ines of flight and intensities, machinic assemblages and their various ypes, bodies without organs and their construction and selection, the )lane of consistency, and in each case the units of measure. Stratometers, teleometers, BwO units of density, BwO units of convergence: Not only do hese constitute a quantification of writing, but they define writing as ilways the measure of something else. Writing has nothing to do with

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signifying. It has to do with surveying, mapping, even realms that are yet to come.

A first type of book is the root-book. The tree is already the image of the world, or the root the image of the world-tree. This is the classical book, as noble, signifying, and subjective organic interiority (the strata of the book). The book imitates the world, as art imitates nature: by procedures specific to it that accomplish what nature cannot or can no longer do. The law of the book is the law of reflection, the One that becomes two. How could the law of the book reside in nature, when it is what presides over the very division between world and book, nature and art? One becomes two: whenever we encounter this formula, even stated strategically by Mao or understood in the most "dialectical" way possible, what we have before us is the most classical and well reflected, oldest, and weariest kind of thought. Nature doesn't work that way: in nature, roots are taproots with a more multiple, lateral, and circular system of ramification, rather than a dichotomous one. Thought lags behind nature. Even the book as a natural reality is a taproot, with its pivotal spine and surrounding leaves. But the book as a spiritual reality, theTree or Root as an image, endlessly develops the law of the One that becomes two, then of the two that become four ... Binary logic is the spiritual reality of the root-tree. Even a discipline as "advanced" as linguistics retains the root-tree as its fundamental image, and thus remains wedded to classical reflection (for example, Chomsky and his grammatical trees, which begin at a point S and proceed by dichotomy). This is as much as to say that this system of thought has never reached an understanding of multiplicity: in order to arrive at two following a spiritual method it must assume a strong principal unity. On the side of the object, it is no doubt possible, following the natural method, to go directly from One to three, four, or five, but only if there is a strong principal unity available, that of the pivotal taproot supporting the secondary roots. That doesn't get us very far. The binary logic of dichotomy has simply been replaced by biunivocal relationships between successive circles. The pivotal taproot provides no better understanding of multiplicity than the dichotomous root. One operates in the object, the other in the subject. Binary logic and biunivocal relationships still dominate psychoanalysis (the tree of delusion in the Freudian interpretation of Schreber's case), linguistics, structuralism, and even information science.

The radicle-system, or fascicular root, is the second figure of the book, to which our modernity pays willing allegiance. This time, the principal root has aborted, or its tip has been destroyed; an immediate, indefinite multiplicity of secondary roots grafts onto it and undergoes a flourishing development. This time, natural reality is what aborts the principal root, but the root's unity subsists, as past or yet to come, as possible. We must ask

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reflexive, spiritual reality does not compensate for this state of things by demanding an even more comprehensive secret unity, or a more extensive totality. Take William Burroughs's cut-up method: the folding of one text onto another, which constitutes multiple and even adventitious roots (like a cutting), implies a supplementary dimension to that of the texts under consideration. In this supplementary dimension of folding, unity continues its spiritual labor. That is why the most resolutely fragmented work can not be presented as the Total Work or Magnum Opus. Most modern methods for making series proliferate or a multiplicity grow are perfectly valid one direction, for example, a linear direction, whereas a unity of totalization asserts itself even more firmly in another, circular or cyclic, dimension. Whenever a multiplicity is taken up in a structure, its growth is offset by a reduction in its laws of combination. The abortionists of unity are indeed angel makers, doctores angelici, because they affirm a properly angelic and superior unity. Joyce's words, accurately described as having "multiple roots," shatter the linear unity of the word, even of language, only to posit a cyclic unity of the sentence, text, or knowledge. Nietzsche's aphorisms shatter the linear unity of knowledge, only to invoke the cyclic unity of the eternal return, present as the nonknown in thought. This is as much as to say that the fascicular system does not really break with dualism, with the complementarity between a subject and an object, a natural reality and a spiritual reality: unity is consistently thwarted and obstructed in the object, while a new type of unity triumphs in the subject. The world has lost its pivot; the subject can no longer even dichotomize, but accedes to a higher unity, of ambivalence or overdetermination, in an always supplementary dimension to that of its object. The world has become chaos, but the book remains the image of the world: radicle-chaosmos rather than root-cosmos. A strange mystification: a book all the more total for being fragmented. At any rate, what a vapid idea, the book as the image of the world. In truth, it is not enough to say, "Long live the multiple," difficult as is to raise that cry. No typographical, lexical, or even syntactical cleverness is enough to make it heard. The multiple must be made, not by always adding a higher dimension, but rather in the simplest of ways, by dint of sobriety, with the number of dimensions one already has available—always n-1 (the only way the one belongs to the multiple: always subtracted). Subtract the unique from the multiplicity to be constituted; write at n - I dimensions. A system of this kind could be called a rhizome. A rhizome as subterranean stem is absolutely different from roots and radicles. Bulbs and tubers are rhizomes. Plants with roots or radicles may be rhizomorphic in other respects altogether: the question is whether plant life in its specificity is not entirely rhizomatic. Even some animals are, in their pack form. Rats are rhizomes. Burrows are too, in all of their func

7

tions of shelter, supply, movement, evasion, and breakout. The rhizome itself assumes very diverse forms, from ramified surface extension in all directions to concretion into bulbs and tubers. When rats swarm over each other. The rhizome includes the best and the worst: potato and couchgrass, or the weed. Animal and plant, couchgrass is crabgrass. We get the distinct feeling that we will convince no one unless we enumerate certain approximate characteristics of the rhizome.

1 and 2. Principles of connection and heterogeneity: any point of a rhizome can be connected to anything other, and must be. This is very different from the tree or root, which plots a point, fixes an order. The linguistic tree on the Chomsky model still begins at a point S and proceeds by dichotomy. On the contrary, not every trait in a rhizome is necessarily linked to a linguistic feature: semiotic chains of every nature are connected to very diverse modes of coding (biological, political, economic, etc.) that bring into play not only different regimes of signs but also states of things of differing status. Collective assemblages of enunciation function directly within machinic assemblages; it is not impossible to make a radical break between regimes of signs and their objects. Even when linguistics claims to confine itself to what is explicit and to make no presuppositions about language, it is still in the sphere of a discourse implying particular modes of assemblage and types of social power. Chomsky's grammaticality, the categorical S symbol that dominates every sentence, is more fundamentally a marker of power than a syntactic marker: you will construct grammatically correct sentences, you will divide each statement into a noun phrase and a verb phrase (first dichotomy ... ). Our criticism of these linguistic models is not that they are too abstract but, on the contrary, that they are not abstract enough, that they do not reach the abstract machine that connects a language to the semantic and pragmatic contents of statements, to collective assemblages of enunciation, to a whole micropolitics of the social field. A rhizome ceaselessly establishes connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles. A semiotic chain is like a tuber agglomerating very diverse acts, not only linguistic, but also perceptive, mimetic, gestural, and cognitive: there is no language in itself, nor are there any linguistic universals, only a throng of dialects, patois, slangs, and specialized languages. There is no ideal speaker-listener, any more than there is a homogeneous linguistic community. Language is, in Weinreich's words, "an essentially heterogeneous reality."1 There is no mother tongue, only a power takeover by a dominant language within a political multiplicity. Language stabilizes around a parish, a bishopric, a capital. It forms a bulb. It evolves by subterranean stems and flows, along river valleys or train tracks; it spreads like a patch of oil.2 It is always possible to break a language

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down into internal structural elements, an undertaking not fundamentally different from a search for roots. There is always something genealogical about a tree. It is not a method for the people. A method of the rhizome type, on the contrary, can analyze language only by decentering it onto other dimensions and other registers. A language is never closed upon itself, except as a function of impotence.

3. Principle of multiplicity: it is only when the multiple is effectively treated as a substantive, "multiplicity," that it ceases to have any relation to the One as subject or object, natural or spiritual reality, image and world. Multiplicities are rhizomatic, and expose arborescent pseudomultiplicities for what they are. There is no unity to serve as a pivot in the object, or to divide in the subject. There is not even the unity to abort in the object "return" in the subject. A multiplicity has neither subject nor object, on1y determinations, magnitudes, and dimensions that cannot increase in number without the multiplicity changing in nature (the laws of combination therefore increase in number as the multiplicity grows). Puppet strings, as a rhizome or multiplicity, are tied not to the supposed will of an artist or puppeteer but to a multiplicity of nerve fibers, which form another puppet in other dimensions connected to the first: "Call the strings or rods that move the puppet the weave. It might be objected that its multiplicity resides in the person of the actor, who projects it into the text. Granted; but the actor's nerve fibers in turn form a weave. And they fall rough the gray matter, the grid, into the undifferentiated.... The interplay approximates the pure activity of weavers attributed in myth to the Fates or Norns."3 An assemblage is precisely this increase in the dimensions of a multiplicity that necessarily changes in nature as it expands its connections. There are no points or positions in a rhizome, such as those found in a structure, tree, or root. There are only lines. When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate. The number is no longer a universal concept measuring elements according to their emplacement in a given dimension, but has itself become a multiplicity that varies according to the dimensions considered (the primacy of the domain over a complex of numbers attached to that domain). We do not have units (unités) of measure, only multiplicities or varieties of measurement. The notion of unity (unités) appears only when there is a power takeover in the multiplicity by the signifier or a correponding subjectification proceeding: This is the case for a pivot-unity forming the basis for a set of biunivocal relationships between objective elements or points, or for the One that divides following the law of a binary logic of differentiation in the subject. Unity always operates in an empty dimension supplementary to that of the system considered (overcoding).

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The point is that a rhizome or multiplicity never allows itself to be overcoded, never has available a supplementary dimension over and above its number of lines, that is, over and above the multiplicity of numbers attached to those lines. All multiplicities are flat, in the sense that they fill or occupy all of their dimensions: we will therefore speak of a plane of consistency of multiplicities, even though the dimensions of this "plane" increase with the number of connections that are made on it. Multiplicities are defined by the outside: by the abstract line, the line of flight or deterritorialization according to which they change in nature and connect with other multiplicities. The plane of consistency (grid) is the outside of all multiplicities. The line of flight marks: the reality of a finite number of dimensions that the multiplicity effectively fills; the impossibility of a supplementary dimension, unless the multiplicity is transformed by the line of flight; the possibility and necessity of flattening all of the multiplicities on a single plane of consistency or exteriority, regardless of their number of dimensions. The ideal for a book would be to lay everything out on a plane of exteriority of this kind, on a single page, the same sheet: lived events, historical determinations, concepts, individuals, groups, social formations. Kleist invented a writing of this type, a broken chain of affects and variable speeds, with accelerations and transformations, always in a relation with the outside. Open rings. His texts, therefore, are opposed in every way to the classical or romantic book constituted by the interiority of a substance or subject. The war machine-book against the State apparatus-book. Flat multiplicities of n dimensions are asignifying and asubjective. They are designated by indefinite articles, or rather by partitives (some couchgrass, some of a rhizome ...).

4. Principle of asignifying rupture: against the oversignifying breaks separating structures or cutting across a single structure. A rhizome may be broken, shattered at a given spot, but it will start up again on one of its old lines, or on new lines. You can never get rid of ants because they form an animal rhizome that can rebound time and again after most