"Well, what music is, what is its intrinsic content of the expression sound? It is not easy to say, but it is something like a child dies, a child plays, a woman born a woman dies, a bird arrives, a bird is gone. What we mean is that these are not matters incidental music, even if you can multiply the examples, exercises and much less imitative but essential. Why would a child, a woman, a bird? Because the musical expression is inseparable from a becoming-woman, a child becoming, a becoming-animal are its content. Why the child dies, or the bird falls, like an arrow through? It was precisely because the "danger" inherent in every line that escapes from every line of flight or deterritorialization creative: to become destruction, abolition. Melisande, a woman-child, a secret, dies twice ("now it's the poor girl.") The music never is tragic, the music is joy. But it happens necessarily give us a death wish, not so much happiness as died happily disappear. Not because it awakens in us an instinct of death, but because of a specific dimension of their agency sound, their sound machine, the time to be faced, in which the transversal line becomes abolition. Peace and exasperation. Music has a thirst for destruction, all kinds of destruction, fire, destruction, displacement. Is not that the "fascism" potential? But every time a musician writes In Memoriam, it is not a source of inspiration, or a memory, but on the contrary, a future that does nothing to confront their own risk, subject to fall to rebirth: a becoming-child becoming-woman, a becoming animal, as they are the content of the music and go to death. "
" 1730: Becoming-Intense, Becoming-Animal, Becoming Undetectable "
Thousand Plateaus
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