Algebraic Concepts Characterized / Distinguishing the General from the Generic / Experiments / Plotting from History

Capital Bodies: Secrets of the Universe

An experiment in accelerating my own thinking about how Capital and Ciphers relate to one another.
Deleuze and Guattari suggest (in “Apparatus of Capture” in Mille Plateau) to assume an axiomatics of capital.
This here is an exploration towards what it might mean to pursue a taxonomy, or rather a taxonometrics of capital.

* thanks to for providing vehicles of transport between the archivalia and the etymalia this experiment has taken as its material (such as the entries on capital, secret, cipher, sound, solidity, finance, credit, credentials, nothing, worth, spectrum, light, painting, pecuniary, symbolic, diabolic, brilliance, clarity, adjunction a.o.).

Capital Bodies: Secrets of the Universe


All we know 
of the body of a cipher, 
is that it is sound and 
organized with general equivalents.

Being sound, 
in the adjectival sense, 
is to be „free from special defect or injury”
and being organized with general equivalents
is to be monetary and credential.

The body of a cipher is whole 
and genuinely unlikely
because it is self-engendering genericness.

How so?

In its adjectival sense, being sound 
– the kind of being the body of a cipher is capable of acquiring –
is „added to,“ it is „thrown or placed near.“

A kind of being 
that is whole
in being „joined, attached, placed upon,“ 
from ad (to) and dare (to give)  
the body of a cipher is only whole
in being „joined or united“ 
with a something.

The body of the cipher
– zero in all its decryptable figurations –
is capable
of presenting the outside 
in its characteristic manner of exhibiting nothing at all.


Where nothing is being exhibited
it turns possible to receive the sound 
of the news from the world.
Sound that originates nowhere
and whose body is burstingly full
– at least now on this early spring day.

The possible, hence, results from circling,
as turns render able what can be done 
to draw from holding much 
and to receive and take in 
sound and solid value
as the price that equals 
the intrinsic worth of a thing.


Nothing presents itself
in the bodies of ciphers that sound and solidify,
as they turn into words, numbers and forms
whose nakedness is being laid out
in painterly script.

Such script ex-scribes 
what is neither constant nor variable
but electric 
and indefinitely on offer 
to be kept with care and desire
as a capital body,
a secret of the universe.


News from the world 
are messages that are genuine 
in so far as they are empty 
of any thing that might revolve in the turns 
that render able what can be done 
to prosper in a growing wealth in possibility.

News from the world 
have nothing to say, 
they are circuitous 
and full of the unlikely kindness that springs 
from the sole property of the universe: 
the kindness articulable in the spectral terms capable to characterize 
the metricity of universatility.

Genuine messages secrete from code
they are born from being written 
in painterly script 
that encrypts no-form-at-all
within the white spectrum, 
the totality of all colors
that does not cease to sum up
from the mutual breaking among emitted reflections
of what frequents and returns 
with a certain regularity.


Nothing presents itself in painterly script.

Painterly script 
is not powerful.
It is not forceful or violent,
it is able to act in contractual manner
able to sift
to make pass through a sieve 
able to enact a separation of sound from noise.

Painterly script strives to 
maximize obligation
as a means to lessen 
the violent wielding 
of whatever may impose itself
as an event that demands
some thing in particular
as a necessary sequential to itself.

Where nothing is being exhibited
messages that are genuine 
are rendered able
to hold fast and invest
the value they exscribe
with sound and solid meaning.


The sounding of genuine messages 
brings a kind of clarity
that is never bare 
of colorful contrast and apparent diffraction,
a kind of clarity
that demands nothing
because it is the clarity 
that springs from the brilliance 
which affords insight only insofar 
as what springs and secretes from it
is granted to remain in the dark.

It is the clarity of a crypt 
whose brilliant insight 
resides obscurely within the white spectrum,
the totality of all colors that does not cease to sum up
from the mutual breaking among emitted reflections
of what frequents and returns with a certain regularity.

The clarity of a crypt 
bears not one form in particular 
but any form at all.

It affords no reflection
unless its desire to be sounded is met,
in which case it  excites 
an incandescent light
whose flaming up is not only entirely unlikely,
alien and uncanny,
but also so delicate and vulnerable 
that it needs to be kept 
each time in a manner 
of which no one ever knows 
how to communicate and share it.

The flame of an incandescent light
can be kept more or less well
according to a script in whose terms 
it is possible to articulate
whatever might turn out to be the case 
for a planet in the reign of a sun,
a world that orbits a star
a world that resides nowhere
because its ultimate capital
is universal
an organ whose function is brilliance
and that keeps engendering its own body.

The terms of this painterly script 
which can afford the delicate articulation of excitement
without exposure and obscenity 
from the tempus of an unlikely tense
– the tense that lends 
the articulations of messages that are genuine
a cryptographical presence.

The organ of brilliance that desires to be sounded,
the sun,
lacks sound that would not
depend upon formulations 
in that unlikely tense of a painterly script
capable of presenting nothing.


Nothing presents itself
in the bodies of ciphers that sound and solidify,
as they figure by turning 
around a void axis
into words, forms and numbers
whose symbolic codes give birth to 
the vibrating desire that drives 
the kind of being that is sound, 
to be what it is
namely whole in a distributed and adjectival sense.

Genuine messages are entirely lawful
so lawful that they are tautological.
But because they desire to be sounded
they are so burstingly full of regularity
that their bodies, 
discharged of the capacity to complete the act of stating 
spills over abundantly.
The electric energetics that constitutes this infinitary act
is being contracted in the terms 
whose articulations organize
thte numerous equation-like trunks 
as bodies that articulate the sound 
that originates in the organ of brilliance.


The bodies of genuine messages 
are lawful in that they
actively so
lack effect.

They are apparent 
in that nothing results from them.
All they ever do
is to sum up the rest 
of which they comprehend:
it is what they, 
due to their public nature,
will keep to be deprived of.


The possible results from circling,
as turns render able what can be done 
to draw from holding much 
and to receive and take in 
sound and solid value as the price 
that equals the worth intrinsic to a thing.

Virtuosity hence is not actually real
its virtual reality is genuinely unlikely and originarily able 
in versatile manner.

Virtuosity is incited by an organ that engenders its own body
a universal organ and its capital bodies.

A capital body is like a cosmic musical instrument 
lacking and desiring to produce the sounds
it in principle, 
but not in fact on its own, 
is able to articulate.


The virtuosity of the universe
depends upon meter that strives to seize
capital bodies 
by measuring the circulation of nothing-at-all
as it presents itself in figures
that attract other bodies of ciphers 
whenever they are adjoined 
to a something.

Rather than delineating a some thing
the meter of painterly script 
formulates credit notes figuratively
notes that circulate and preserve 
what remains concealed
within those frequent and spectral terms 
light adopts when viewed as quanta.
Painterly script captures and holds tense
the insight thus afforded 
in the articulation of a presence 
whose condition for being rendered able to 
continue with itself entirely in its own terms
is that in its sole grammatical tense, 
that of the cryptographical present,
all that sounds 
sounds noisy and arcane.


The universe is abundantly full 
of itself. Its kindness and kinship 
never ceases to be original 
because it is being born 
in the capital bodies that preserve
the secret worth of things
of which a generational order continues to learn
how to keep esteem for it 
in cryptographical articulations.

All we know 
of the body of a cipher, 
is that it is sound.

Being sound, 
in the adjectival sense, 
is to be „free from special defect or injury.“

The body of a cipher then
is whole. This is reason enough to assume 
that its soundness is solid.


A solid secret that is sound
is kept by the body of a cipher.

The crypt
in whose terms a body of a cipher figures
as „an entire sum“
of what is firm 
entirely same
spectral but well-established
free from danger and vexation


A solid secret solidifies indefinitely, 
by transgressing the limits of its own soundness 
for no other reason than the universal pleasure
which it is capable to seek.

The health of being sound, 
its being whole as a manner of being what it is, 
whole by being not-whole,
depends upon merely being capable 
of being totalized.

This manner of being sums up, 
it is the manner of summing up
a summing up that never rests
and is delicately active.


This manner of being sound
pertains to wealth in movable property,
to pecuniary wealth. 

The sound whose articulation measures,
not words but capital bodies, 
exscribed by a painterly script, 
– this sound is not powerful.

Articulating it needs neither force nor violence,
but ability in acting in contractual manner
ability to sift
to make pass through a sieve 
ability to enact 
a separation 
of sound from noise
that is genuinely unlikely 
and that is nothing
if not attached and adjoined
to a some thing.


This ability is financial,
its ending is by retribution and settlement.

 It is tied up with a kind of reason 
whose rationality never counts
without obliging itself 
to pay back to the real 
what it owes it.

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