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Cave Wenders PDF
Cave Wenders PDF
11 TRAVEL
Nick Cave has said that one of the primary things that drew him to music,
"rather than...any burning desire to be a musician, or take a message to the
world, or whatever", was that it gave him a "vehicle through which to travel"
(Walker: 65). For Deleuze and Guattari music enables travel. The refrains
which are music's content are portable. Yet these refrains also territorialize-
they create territory as they move. Every repetition of a refrain marks out a
distance which also becomes a plan(e) for a territory. Travel and territory,
music and refrain, possess an intricate series of connections. For Deleuze and
Guattari (1987) the creation of territory is the very function of the refrain. The
deterritorialization of refrains - their disconnection from their territory - is
what they call music. In terms of territory, refrains are primary. For what
Deleuze and Guattari call deterritorialization, music is primary. Seen from this
point of view, popular music events, therefore, do not only derive from certain
abstract social formations (such as national states with their attendant State
philosophies and State art). Such events also, in a very specific way, mark out
and/or erase certain territoriesjor social formation in the first place. An ecology
of popular music, which would also be an ethics, would determine the actual
connections made by popular music events to territorial processes as revealed
by the use of the refrain.
For example, dance music's speeding up of the appropriation of the world's
refrains - in at least two recent accelerations through house and techno - is
itself something that marks out new territories in the increasingly frenzied
interaction between new computer-driven territories and bodies and their
territories. The most extreme example of this is the creation of techno within
worldwide computer networks. It is possible for such music to exist solely in
this new territory of digital communicational space. Yet, of course, it can also
be danced to. It is music which both simulates space and creates it -literally,
on the dance floor, in headphones, on the Internet. More generally, all dance
music now provides a zone between bodies and what Wark (1994) has called
"Third Nature'" . It gives the ecstatic refrains by which this new space can be
both created and negotiated.
For Deleuze and Guattari, the ethical question would become: what social
machines are enveloping all such processes as dance or 'world' musics? Are
they productive? Do they, in Deleuze and Guattari's terms set free productive
lines of flight? Or are they anti-productive? Are refrains set free by such
processes as dance music only to burn out as they enter capital's stratosphere?
Are refrains preserving ecologies of movement and connection between differ-
ent communities, different territories, environments, individuals? Are refrains
erasing these differences? Are they doing both? What are the relations between
State, Capital and nomadic machines within popular music in, for example, the
academy? I shall turn to a more detailed analysis of the refrain io give the
outline of an answer.
- at one level the bass and the drums, at another, the US flag, a particular skin
colour and the burning of a guitar, just to name three elements of a complex
interaction. In a sense then, real rhythm is about becoming. It is "never on the
same plane as that which has rhythm" (Deleuze and Guattari, 1987: 313). Toput
this simply it is the difference which is the rhythm - not the repetition. If
rhythm was not becoming, connection or interaction, if it could not deal with
difference but only the dogmatic repetition of meter, nothing new would ever
happen. No milieus would ever interact. There would not be music.
On the other hand, the benefit of a specifically musical terrain is a portability
that enables the holding together of many heterogeneous elements. What is at
first fuzzy is held together by the refrain (323). At the same time, the refrain is
the most unstable segment of the territory, because, like Nick Cave, an
expatriate Australian working in the international music scene, the refrain
comes from somewhere else. The centre of the territory is always, as a band,
coming from outside, from somewhere else. It must to be able to form the in-
between which is crucial to the formation of territory. The same could also be
said, of course, of radio, of musical samples or of bursts of sound on the
Internet. Deleuze and Guattari point out then that what they call the 'Natal'
always lies outside. The very thing that holds a territory together, from which
it is born, has a dynamism guaranteed by somewhere else: the upstream to
which salmon swim; the migration of birds (and more and more humans);
lobsters on long marches (326). Pop singers tour, or make it somewhere else,
following the constant logic of the refrain.
To sum up then, a refrain is something which is repeatable, portable and
marks both a distance and a rhythm. For Deleuze and Guattari it is the
structuring and destructuring ofthe action of the refrain which lies behind many
experiences and makes them both musical and territorial. A child sings in the
dark to ward off fear. Birdsong or whalesong define territories and movements
over kilometres. Wolves howl as an inter-territorial act. The refrain enables
different territories to be formed; the territories of the dance floor, the transfor-
mation of the pub. by live music, the work of the radio, which is both
deterritorialized power and territorializer par excellence - defining the house,
the street, the movements of armies.
And beyond these strictly musical examples there are other refrains that
connect with them and make them possible, that form a kind of generalised
musical machine with them. There are general repetitions in life as a whole
which feed into and are fed by the refrains of popular music. At the most general
level, pleasure, pain, recognition and misrecognition occur as cycles in the
nervous system and the psyche, cycles which must form and dissolve territories
in response to other territorial actions - cycles which are also turned into the
rhythms of drug use or gang activity, or even just 'going out'. That such
repetitive action is territorial begins to explain the intensity associated with
popular music as a dynamic process. This intensity is matched only in other
repetitive processes which are to do with territorial anxiety or activity, as in
(1952), was contained in the immanent and specific ability to affect and be
affected, to expand one's degree of connectiveness without succumbing to
inadequate ideas about one's place in the world, or knowledge ofit. For Spinoza
it was connection which determined both one's own degree of power and the
degree of power of those people or things in connection. Pain, in this ethical
schema, was a kind of sorrow derived from a loss of affect. Pleasure was the joy
of connection, of a constant music of connection in expansion, an ability to
create new territories with multiple centres - territories that Deleuze and
Guattari would call rhizomes, territories of becoming. Refrains and music have
a great and literal power in determining such states of pain and pleasure because
they enable us to move and to connect. It may be that the refrain is neither an
accompaniment to life, nor even its crowning achievement, but an expression
of life's basic force of production. I say this not to romanticise music, but to
analyse what it does. Consider 'Uber Alles', for example, as a refrain - for
Germany in 1940, in 1990, or as sung by Nico or The Disposable Heroes of
Hiphoprisy as different moments of territorial production.
Refrains connect territories and bodies. They may be, as Miller puts it, a way
of "verifying" for oneself one's movement through the world as a body and
connections with the outside to the body. Through a productive refrain "the
habitual disposition of the body seems to break down" (273). Miller is here, of
course, writing about S & M, but this also sounds like a gig, or dancing, to me,
its instincts and drives turning into a teeming mass of 'formless
pseudopods' - as if every zone of the body, like an amoeba
through its pseudopodia. was able to change constantly its shape
(273).
The refrain has the power to make and break territories or change the very
nature of the body and its connections. The refrain is riOt in itself an ethics yet
an analysis of the refrain must be incorporated into any ethical analysis of
popular music. One of my major concerns here in discussing the refrain is to
show how it extends through from birdsong to sampling, from the 'natural' to
the 'technological', and how both presuppose it. The refrain is a kind of
machined production of space. Music may dis-organise 'space and bodies, but
the refrain allows them to be re-arranged, even if in portable form. As John
Cage delicately puts it -
a utility aMong
swAllows
is theiR
musiC
thEy produce it mid-air
to avoid coLliding
(Cage, 1973: 26)
This latter only, of course, makes the use of sound potentially more
damaging as well as potentially more useful. Cave's singing, techno, or rap can
easily provide just as thorough a ground for fascism as for a more useful
molecularisation of State politics. The only way in which this will guarantee
some kind of ethics is in that form of refrain which continually allows both
connection and escape from sovereignty - all the permutations of a pirate
radio. This is far more important to Deleuze and Guattari than "building a new
system" (350). For them, the truth is today that there is no system, "only lines
and movements",
The refrain, then is one of Deleuze and Guattari' s most basic concepts
(Deleuze, 1990: 188). As a concept,
it has a relation with territory. There are refrains in the territory,
and those which mark it; but also when one looks for a way home
and one is scared a/the night; and again when one leaves ... This
is already three differential positions. But then, the refrain
explains the relation of territory with something more profound,
which is the earth. So be it, but the earth, it is the Deterritorialized,
it is inseparable from a process ofdeterritorialization which is its
own aberrant movement. (Deleuze, 1990: 200-201)
The refrain's portability enables it to hold together many heterogeneous
elements. It is in music's heterogeneity that one can, finally, consider the
refrain's relationship with the earth, 13 for the earth is the ultimate deterritorialized.
lt may be that one needs a popular music, in the broadest sense, to have any
sense of place at all.
lt seems to me that popular music, for better or for worse, and certainly for
richer or for poorer, is tied to the thoroughness of its understanding of territory
and refrain more than any other musical form. The refrain is what popular music
is about - its specific connections of bodies, technologies, of different territo-
ries. Popular music does, in an immanent way, use the refrain to make these
connections, every time a song is repeated, on the dance floor, on the television,
in the pub, in cyberspace. Yet popular music is also profoundly musical in the
power of its deterritorialization of refrains. Maybe one can even begin to
understand what certain more indigenous groups all over the world ('minor'
groups) have been trying to tell us for so long. The refrain is not something to
be captured, but is something that links us, a form of interaction more
interesting than interactive television - to the birds, to other beings, to
television for that matter. And to think of these things without thinking
territorially is to make a mistake about thought itself. One is used to thinking
about popular music in terms of subject and object - who is playing what -
yet for Deleuze and Guattari -
Subject and object give a bad approximation ofthought. Thought
is neither a thread stretched between a subject and an object, nor
a revolution of one around the other. Thought rather lies in the
VI WINGED
In 1987 Nick Cave and the Bad Seeds and Crime and the City Solution
appeared, somewhat emblematically, in Wim Wenders' Wings of Desire. This
seemed in some ways an unsurprising event as Wenders' films have always
deterritorializedtowards popular music; and Cave's songs are often unimagi-
nable without considering Cave's energetic performance style. In addition,
Cave and Wenders are both wanderers, with little apparent regard for the State.
Both have been lauded and condemned at various times for their very different
(if honest) approaches to masculinity, which in both cases combine with a fairly
abject view of the feminine. Both face the ceaseless problem of a high degree
of deterritorialization and a need for specific territory. Both turn to popular
music both to territorialize and to enable movement whenever they seem stuck.
Wenders' films are nearly all road movies. Not only is their subject matter
travel but making them seems always to involve an inordinate amount of
travelling. PopUlar music often seems to be the only thing holding his films
together. Whole films seem based upon the territories carved out by refrains, for
example, in Ry Cooder's score for Paris,Texas (1984), or Wenders' early
even further from his angelic choruses. Cave's music is important as part of this
process because it replaces, somewhat demonically," the angelic choruses
normally heard by Damiel in times of stress - choruses which draw the angels
back towards their own deterritorialized existence. Marioo is, in turn.
deterritorialized by angelic refrains later in the film.
The second time Cave et al' s music is heard is during Marion's two visits
to a club in Berlin. During her first visit the viewer sees a band which shares
several members with Cave's own, Crime and the City Solution, playing Six
Bells Chime live. During the second visit Nick·Cave and company are playing
The Carny live. !lis followed, appropriately enough, by FromHerto Eternity."
This is just before the meeting of the two main characters near the end of the
film. Marion is dancing (rather badly). Damiel, having become human, drunk
coffee, smoked cigarettes and, guided by Peter Falk, rubbed his hands together
in the cold, is looking for Marion. Only human for a day or so, it seems he
already has a romantic destiny. He fails to find her at the now deserted circus
site, but seeing the enormous, somewhat despotic face of Cave on a club poster
he realises that Marion will be there. !l is the logic of the refrain.
The live appearance of Cave at the club both precedes and grounds Damiel
and Marion's coming together. Damiel is, in fact, going from eternity to her
rather than in the direction alluded to in the song, but nevertheless the refrain
of this song provides a territory, or what Deleuze and Guattari would call a
plan(e) of consistency, 17 in which the meeting can occur. Cave's face, gestures
and refrains layout a temporary, immanent, intense territory. In the caravan the
Cave record deterritorialized both Damiel from his angelic territory and Marion
from her circus. Cave's live performance in the club provides a field of
intensities where anything could happen. Unfortunately what does happen is
that the music is cut, they go to an adjoining bar, and Marion makes a long,
ponderous speech about love, very badly written by Peter Handke. 18 It seems
that when Cave's refrains are left behind the intensity of territory is lost and no
words can make up for it. Yet this is not a return of realpolitik - it is part of
a more complex political process which has many other possibilities.
It is not odd, however, that before this failed attempt at a return to
sovereignty, Wenders should choose to territorialize what is, for him, an
intense and dangerous moment in Wings of Desire with Cave's screaming and
posturing formation of territories (that are as ephemeral as they are brutal).
Since a child, Wenders has turned to popular music whenever challenged by a
lack of territorial definition. Born in 1945, he has repeatedly said that American
popular music saved his life as a teenager in post World War Two Germany
(Wenders, 1989: 125-126,1991: 17 & 89); faced as he was by an impossible past
and an incomprehensible future. German music (he mentions Beethoven) only
represented these twin State territorial blocks. Wenders thus grew up in a
Germany that had effectively been culturally bleached and was in the process
of being heavily territorialized by American culture, notably by American
films and popular music, both of which Wenders adored. I' For his early films
the songs literally came first. His first film with longtime collaborator Peter
Handke, 3 American LPs (1969) was a discussion between the two about
American popular songs. His film criticism is full of long quotes from various
songs and includes a comparison of them to the American landscape, particu-
larly in the Westerns of John Ford. Eventually this identification with America
was to lead to a long stint of living and making films in America which
culminated in the making of Paris. Texas. This film had a Ry Cooder sound-
track which is the only complete combination of popular songs and more
conventional film sound tracks employed in Wenders' work. Wenders saw Ry
Cooder's music as efficiently creating a specific American territory. He has
said that
Ry did what I was dreaming he could do: combine. In all my other
films there was both rock and roll and the score. In Paris. Texas
there is one ... It's almost as if the music is coming out of these
landscapes. (cited in Dieckmann: 5)
By this time, however, Wenders was disillusioned with America, and with
American styles of filmmaking, which he questions in The State of Things
(1982). This means that at the time of making Wings of Desire Wenders was
facing a territorial dilemma. He saw Berlin as the most German city (the
German title of the film literally translates as "The Sky over Berlin") but in the
film finds it hard to territorialize it as such, literally running up against a wall
_ the wall, which of course was still in place, and also forms the no man's land
into which Damiel falls from the sky. In short, Wings of Desire was, in part,
Wenders' attempt to place himself, perhaps for the first time consciously, as a
German in Germany. This perhaps also accounts for what Deleuze and Guattari
(1987:272) would call the "becoming-child" of the film, sandwiched as the
whole film is at beginning and end by a refrain which literally sets up a
becoming-child - "when the child was a child" is the translation ofthe opening
and closing lines of the film.
The peculiar thing is that it is an excessive nomadic Australian who provides
Wenders with what seem like excessively German refrains at the climax of the
film. These refrains give the possibility of a Germany which is not so much a
sovereign State or an intrinsic nati.onality but a Germany tied much more
specifically to Berlin. Wenders forms Berlin for most of the film as a specific
multiplicity - a territory formed by refrains drawn from outside, such as
Cave's. Berlin here seems almost anti-sovereign (and certainly in the films
which followed, the notion of sovereignty collapses completely'·) . In the
moment of multiplicity in the nightclub the refrains manage to preserve the
creative territorial possibilities of all its participants. Yet it is somewhat erased
by the scene which follows it. Marion announces she is giving up chance for
Romantic love, and this would seem very much an affirmation of the attempted
rebirth of a certain kind of sovereignty.
It is worth mentioning also that there is another strand of the film whi,h
plays with notions of the sovereign and the local which resists it. This is about
the making of a war film replete with standard sovereign Nazis and minorities
with interesting faces. It is these specific faces which Peter Falk contemplates
and draws as a form of relaxation. Wings of Desire as a whole hovers around
more walls than just the Berlin wall - walls between the construction of
sovereignty (the sovereignty of mythic heterosexual relations as an end point
and a starting point, the various sovereign Germanies) and the parody of fallen
sovereignties; in favour of multiplicities of specific refrains and persons drawn
from outside this sovereignty. It could be argued that popular music also hovers
over the border of these two very different formations of territory.
That Cave appears at the specific moment in the film he does is also due to
the very difficulty of a territorial negotiation Wenders faces in relation to the
German question - that between the sexes. What seems like the trivial climax
of an awkward, or even offensive, romance is anything but trivial in the context
of Wenders' work up to this point, which had always been highly equivocal
about the feminine. Until Wings of Desire his films never really dealt with
active relations between the sexes (although Paris, Texas deals with the
aftermath). Like the girl and her mother in Wenders' early Alice in the Cities
(1974) women represent a territorialization process by which men can be
fascinated but never really approach, except temporarily. In some ways the end
of Wings of Desire only repeats this more intensely. Yet in Wings of Desire
Damiel is not only deterritorialized from the sky over Berlin to the ground but
also taken out of a typical Wenders wandering male duo (with another male
angel). It is the first time his films really attempt to affirm sexuality - in the
midst of a nostalgic attempt to revive a Berlin that perhaps never was. This
process will require intense and ambiguous refrains of both the feminine and
masculine to make it flow. Cave provides exactly this (until he is shut up by an
abrupt edit). In Wenders' films this is what popular music always does. It
constantly creates territory and the possibility of territory at the same time as
it deterritorializes both characters' and viewers' sense of place. His films are
full of juke boxes in unplaceable cafes in unplaceable towns - but which play
placeable (and placing) songs. Indeed in AUce in the Cities, Wenders himself
appears as the person working the jukebox.
So Wenders begins life deterritorialized, and though his films hanker after
a territory, they always seem more comfortable on the road, with records, (the
deterritorialized refrain as music) than with the kind of moments of strong
territorialization he finds in the instance in Wings of Desire where Cave takes
over the scene. It seems almost as though Wenders does not know what to do
with this immanent territory that he gives himself, and immediately launches
transcendent sovereignties, sexual and possibly even national, in the next
scene.
Perhaps this all only reflects the fact that the late 20th Century has both an
increasingly free (for those in possession of the means to capitalise upon such
freedom) and increasingly abject (for the less fortunate) sense of place. These
are, of course, intricately involved, and perhaps bound to rebound upon the
whole set of relations between the free and the abject. The abject is, after all,
the sense of horror at the dissolution of boundaries of place, be those the
boundaries of bodies or of sexual or national identities (Kristeva, 1982). Of
course, all Wenders' films and many of Cave's songs can be read as a response
to exactly these problems. There is sometimes, as in Wenders' return to
Germany and romance at the very end of Wings of Desire, a recoil from the
abject. This recoil has the possibility of attempting a return towards Statehood
or sovereignty as in the sexual sovereignty at the end of Wings of Desire. At
other times there is the perhaps preferable creation of a nomadic sense of ethics
that opposes interaction and wandering to sovereign' States. This latter propels
many of Wenders' characters onto the road.
and performance explores the area between drama and parody" (Casimir,
1990a: 12). Any intensive use of refrains drawn from such a wide area must. As
Casimir (1990a: 12) writes, this leads to an element of "uncertainty" in Cave's
work that "forces you to examine and react to what he is doing". There is an
uncertainty about authenticity in Cave's use of a multiplicity of refrains. It
gives his performance intensity because it enables the crossing of the bounda-
ries of the abject. It is irrelevant whether, as a reviewer wrote in 1985, "pasty
men from Caulfield can sing the blues" (Guilliatt: 14). In fact Cave constantly
plays on this. He has said that "there's a certain way I perform on stage which
I consider to be very honest, but at the same time I think it's treading the middle
ground between some kind of complete truth and parody" (Casimir 1990b: 16s).
Generally speaking, parody is in some ways the life blood of popular music
performance. Parody is the deterritorialization of refrains from other areas
which makes possible the creation of new territories. It is, in the process, a way
of dismantling older territories. It is this which can make popular music, in
Deleuze and Guattari's terms, a war machine. It is also this which accounts for
the apparently disruptive nature of Cave's music in England in the early
1980s," or even in Wings of Desire. For example, Cave says that,
Within the context ofa certain set of lyrics to say '[ love you' or
another classic cliched tearjerker ofa line which no longer jerks
tears - and hasn't done so for 20 years - can come across very
powerfully. (Robinson, 1984:16)
END NOTES
underlies Deleuze and Guattari·s more famous notions of desire being based upon
production. not upon some kind of lack.
5 See Massumi (1985) or Patton (1986) for a much more detailed account of Deleuze
and Guattari' s politics and ethics.
6 As defined in the Macquarie Dictionary (\981): 1786.
7 That simulated mapping of the natural (in this case bodies) which itself interacts with
other versions of the natural, becoming itself natural in the process. That is, there is
nature as it has traditionally been thought of, there is our messing with nature (second
nature) directly and now there is our simulation of natural events (third), all of which
are interacting and therefore 'natural'.
8 Freud, S (1984) : 290.
9 For Deleuze (1979: 115) the cinema could be viewed as 'constituting' a form ofvisual
music. It is "as if the eyes first took hold of the sound" (my translation). This can be
seen as a transposition of the notion of the repetition ofthe refrain to the visual realm.
la It should be clear. Ihope. that by ecology Imean precisely that problem that the world
as a complex that exceeds humanity presents to us as ecologists. This is to say that
environment, socius and individuals are mutually independent, as Guattari would
point out (1989). Nancy writes of an "ecotechnics" (48).
II Ecotechnics is therefore quite different to. though not incompatible with, Guattari's
notions ofecology. Both include the social, though the latter's is perhaps amore open
concept.
12 The example Deleuze and Guattari give here is synaesthesia in which. they suggest,
sound can induce colours which are "superposed upon the colors we see, lending them
a properly sonorous rhythm and movement" (Deleuze and Guattati, 1987:348). The
idea is that this does not happen in reversebecause the sound can detenitorialize while
the colour, by itself, tends to cling to a territory.
13 For Deleuze and Guattari the 'earth' covers an interaction between geological,
geographical, philosophical and sociological factors, but it is no less anotion ofmaterial
relations, importantly extended here beyond the human. whilst still including them.
14 This is filmed as abeautiful montage with acomplex series ofrelations set up between
refrains and territories. Many of these refrains are musical. There is not space here for
what would be a useful analysis.
15 I am grateful to Peter Doyle for pointing out these cosmic dimensions to me.
16 These songs can all be heard on the soundtrack album for Wings ofDesire (1987).
17 The plane of consistency is given detailed description by Deleuze and Guattari.
including the idea that it "constructs continuums of intensity" (1987:70). It includes
the idea ofaplan. diagram or map ofthe possibilities ofnew tenitories and ofan active
plane of intensity which forms the grounds for the production of more specific
material occurrences.
18 Handke was asked to write the entire film but was exhausted at the time and could only
provide some fragments - others of which are very beautiful.
19 See Geist (1988), especially the first chapter, for a more complete summary of
Wenders' early involvement with the popular music and films of the US. She points
out that American films were deliberately used as a form of pacification by the
military in the 1950s. Thus it can be seen that Wenders' film making itself is aproduct
of the territorialization of Germany using the refrains of US popular culture. Geist
(1998:61) quotes the line from Wenders' 1975-1976 film Kings ofthe Road where
Rohert says "The Yanks have colonized oursubconscious". Refrains and, in particular,
popular music, have often been used as colonizing forces. In territorial terms popular
music can be used as acolonial weapon. For example, Taussig (1993) points to its use
amongst the Cuna Indians in Panama. One example is when the Panamanian
government used dance halls in order to 'corrupt' Cuna women and destroy internal
Cuna relations. Pietz has made similar points about the phonograph in Africa (1987).
It is hoped that the relations between an 'ecology of popular music'. ethics and
ecologies of the subject, socius and environment are not hard to define here.
20 I am thinking here ofboth Until the Endofthe World (1991) and of FarAway, So Close
(1993). The fonner is literally a chase across many national boundaries. The latter
takes place after the fall of the Berlin wall and will be discussed briefly at the end of
the article.
21 See endnote 14.
22 See Fricke and Jamrozik.
23 Guattari specifically points out that rock culture always has an ambiguous political
relation to struggle in the urban environment (Guattari, 1992:182).
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__ (l990b) 'A Hit or Myth Affair'The Sydney Morning Herald (Metro supplement) 7n
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- - (1990) Pourparlers, Paris: Les Editions de Minuit
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__ (1991) Qu'est-ce que la Philosophie, Paris: Les Editions de Minuit
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Guattari, F (1992) Choosmose, Paris: Editions Galilee
__ (1989) Les trois ecologies, Paris: Editions Galileo
__ (1993) 'Machinic Heterogenesis' in Coniey, V. (od.) Rethinking Technologies,
DISCOGRAPHY