to do with the body itself, or with an image of the body. It is the body without an image. This imageless, organless body, the nonproductive, exists right there where it is produced, in the third stage of the binary-linear series. It is perpetually reinserted into the process of production. The catatonic body is produced in the water of the hydrotherapy tub. The full body without organs belongs to the realm of antiproduction; but yet another characteristic of the connective or productive synthesis is the fact that it couples production with antiproduction, with an element of antiproduction. First we need free ourselves of organs. The order and fixity are limiting forces imposed upon us. The body ruled by organization represents integrity and wholeness, which indicates stable and fixed selfhood. To get rid of this, we must strip ourselves of organs, to become naked and light enough to follow lines of flight. BWO is the beginning of desire. It’s massive flowing through values and vessels. Rejecting one’s body amounts to rejecting one’s identity. BWO opens the body to new connections, territories and distributions of intensities. In fact, it is a liberating force against subjectification and organism. One can reach the possibilities of desubjectification, the lines of flight and deteritorialization.
The dissolution of the logical identity of the subject has as its correlate the physical disintegration of the organic body. Deleuze finds its biological model in the egg, which is an intensive field, literary without organs, defined solely by axes and vectors, gradients, and thresholds, displacements and migrations. The body without organs is the model of life itself, a powerful nonorganic and intensive vitality that traverses the organism. But for Deleuze, the body without organs is not something that exists before the organism. It is the intensive reality of the body, a milieu of intensity that is beneath or adjacent to the organism and continually in the process of constructing itself. In fact in Not I even when the woman reduced to mouth is motionless, the schizophrenia undertakes vast voyages, but they are voyages in intensity, she crosses the desert of her body without organs and along the way struggles against other races, destroys civilizations, and eventually becomes word and silence.
This reading of Not I attempts to follow the traces of nomadic transformation in figures. Aided by Deleuzean trajectories: BWO (Body Without Organ), both in the young age and the old age, she cannot escape from smooth space that she stuck in. This play invites us to seek the variety of ways so as to remove ego. To do this, she puts forward new ways and new threshold to resist being either this or that in favor of becoming. Moreover, we can hear a voice without body, a mouth that can represent her freedom from organs. This seems to indicate the beginning level of flight from organs in order to set her free and pave the way of becoming.
The ego- oriented, insofar as it is determined by the legal and legalized institutions in which it imagines itself, to the point where, even in its perversions, the ego conforms to the exclusive use of the disjunctions imposed by the law (for example, Oedipal homosexuality). But group fantasy no longer has anything but the drives themselves as subject, and the desiring-machines formed by them with the revolutionary institutions. The group fantasy includes the disjunctions, in the sense that each subject, discharged of his personal identity but not of his singularities, enters into relations with others following the communication proper to partial objects: everyone passes into the body of the other on the body without organs. The ego-oriented subject _Deleuze claims_ that has been rampant so far is broken to fragments and move incessantly in variety of directions aiming at production of effects(ibid 477). In woman’s obsession with words and its following disappointment, one may argue that, she has a void journey to other things. She dismantles her body from organs so as to desubjectify her ego. To make one a BWO doesn’t mean to kill oneself, rather the act of dismantling of organs must make one enter new connections that are impossible insofar as organism is operative. The passages, connections, intensities and levels are made possible once body is free from limitative power of organs. Freed from organs, as a Deleuzean dictum can be seen in every part of the play. She is not organized at all as a human; her disorganized body reduced to a mouth can refer to her freedom from body’s limitation in order to pave the way for becoming sound and word getting close to the line of flight from organs.
Having thus positioned her the Other/I aspect of Deleuze’s reading, it follows that one should then do the same for Mouth, which are presences that can be interpreted as Deleuzian Images. The first qualification in this regard comes as a result of her indeterminacy, her formlessness. Deleuze comments that: “the image disengages from its object so as to become in itself a process – a possible event that doesn’t even have to realize itself in the body of an object any longer. Mouth appears to function autonomously, free from any bodily constraints: “whole body like gone … just the mouth (381). It moves “in darkness” with the “rest of (what can only presumably be a human) face in shadow” ( 376). As such, Mouth’s presence is transported from the realm of the physical (a body), which “seems composed of a limited area”, to the metaphysical world of “any-space-whatever” (Deleuze, 18).
As such mouth moves from the parameters of the physical into the limitless metaphysical. Mouth is more than just disembodied entities: it is processes, movements that define the theatrical arc of the play. Deleuze notes that: “The image is precisely this: not a representation of an object, but a movement in the world of the spirit” (Deleuze, 19). This movement is integral to the objective of the play. In Not I, the threatening “mouth on fire” spews a “stream of words” (Not I, 380). In its relentlessness, Mouth inevitably takes on a strange visual quality. It becomes the single “godforsaken hole” in the void of darkness, which threatens to absorb those who witness it (381). The image, therefore, is not merely the voice or the visual, but the sinister movement of the two. The Image is the effect that Mouth produces, the process by which the audience’s nerves are disquieted in the trajectory of the monologue. Here, Beckett highlights one of the main intentions of the monologue: to have the audience endure the effect of “just the mouth” in its “maddened” progression (382). Like the “the buzzing”, Mouth’s verbal onslaught becomes a “dull roar … in the skull” (382). As an Image, mouth embodies everything that “dies away, wastes away” (Deleuze, 19). Thus, it becomes clear how Mouth qualifies as Images in the texts: it is presences that lack subjectivity; it is without a definite form and is thus indeterminate; and finally, it reveals itself, not as objects, but as processes.
3.2.2 Smooth Space
As mentioned earlier, there are two spaces that can be discussed here. First, one must pay attention to the major difference between striated space and nomad space in Deleuzean trajectory. While the former is the space directed to a point, the latter is the space of line. It is marked by a smooth directional movement where the point is between lines, it is point-oriented, it is a moving limited between two points on one single line. However, the nomad space finds freedom, it can go everywhere and it can flow through any part. The nomadic BWO is the very perverse. It is perverse as it is ruled by hesitation “this paw that is neither left nor right, this differentiation that is never suppressing the undifferentiated which is divided in it” (The Logic of Sense 281).
Striated space is governed by regular pattern, order, and law. Therefore, its “vertical being” (A Thousand Plateaus 43), top to bottom indicates hierarchy. This vertical arrangement represents a limiting force with its centered space of order and discipline. On the other hand, the nomadic space seems to be a space marked by ‘free action’. Deleuze goes toward these new regions where the connections are always partial and nonpersonal, the conjunctions nomadic and polyvocal, the disjunctions included, where homosexuality and hetero-sexuality cannot be distinguished any longer: the world of transverse communications, where the finally conquered nonhuman sex mingles with the flowers, a new earth where desire functions according to its molecular elements and flows. Such a voyage does not necessarily imply great movements in extension; it becomes immobile, in a room and on a body without organs—an intensive voyage that undoes all the lands for the benefit of the one it is creating. Besides, Deleuze insists on abolition of ego, so as to enable one to live as a flow and singularity. Unity and identity are useless and he sets forth the concept of becoming and immense of desire. Furthermore, unlike the striated space in which one goes from one definite point to the equally other definite points (which means teleological, linear direction) the nomad space privileges lines over points. This vacillation between the smooth and striated space is of importance in Deleuzean thinking as he asserts that the two exist in mixture, one is always traversed into the other, the smooth doesn’t remain smooth forever, it constantly returns to the striated as the striated reverses to the smooth.
This can read as the care of a nomadic state, which can be attributed to the woman who doesn’t belong to anywhere. The woman intensities that flow in excess of desire, the desire that negates wholeness, in search of meaningless words and nothingness. She divides her identity through words, in this manner from the beginning we can realize the division of identity in a nomadic state. As it is evident, there is no