`Richard P. : In these processes of metallization and crystallization, there’s the formation of blocks of space-time, and it’s through vibrations, transformations, compositions, projections, movements of exchange, movements of pure speed, movements of differential speed, that the fabrication of specific time, blocks of specific space-time, are produced, and perhaps it’s these that are going to form the metallic syntheses or the crystalline syntheses.
Gilles : That’s what I called assemblages [agencements] last time. They’re musical assemblages. These lines each have their own combinations, one cannot define them in an analogical [analogue] manner. In what we vaguely call a crystalline line, which has a whole history of its own, the determination of a crystalline line is not at all in relation to the material in the same situation as the determination of a metallic line is in its relation to its own material; therefore, neither of these lines will have any general formula. Being a crystalline line does not imply that the matter of the instruments which trace it is crystal. If I say metallic line, that implies that the instruments which trace it are brasses, at least at the beginning. Therefore, these two lines have different statuses. Actually they wobble [boitent] in relation to each other. For the woodwinds, this will be something else as well, we clearly have wood as matter, but wood as matter in relation to a musical line of wood is not at all the same thing as metal as matter in relation to a musical line of metal.
Richard P. : In all cases, the plane of consistency on which the crystalline music or the metallic music will take shape, in the case of the musical example, is absolutely indifferent to the material. At first, obviously, we could say that such and such metallic or crystalline instruments come into play, but what’s really important is the process of synthesis itself, it’s the plane of consistency that will bring out a process of affection of the metallic type or of the crystalline type, at such a point that purely electronic instruments could themselves release’while in themselves they don’t have any composition, neither of wood, nor metal nor crystal’affects of such and such type. ` <$)^@@#?>
{<}schizo/richard pinhas--LE VOYAGEUR--ft gilles deleuze reading from nietzsche's the wanderer--1972}
