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          "alt": "If metallurgy has an essential relationship with music, it is by virtue anty of the sounds of the forge but also of the tendency within both in bring into its own, beyond separate forms, a continuous devel pent of fein, and beyond variable nuttters, a continuous variation of watter a widened chromsticism sustains both music and metallurgy, the msical smith was the first \"transformer.\" In short, what metal and metallurgy bring to light is a life proper to matter, a vital state of matter such, a material vitalism that doubtless exists everywhere but is ordi narily hidden or covered, rendered unrecognizable, dissociated by the hylumorphic model. (ATP. 411)\n\nThe music of the smith is not just the sound of his hammer, but a trans-formational relation with the ore: the smith plays through the mallea-bility of the ore; the musician forges through a continuous variation of notes. Smiths as much as musicians do not impose forms but transform materials: forms appear only as transitions. Metallurgy and music thus reveal \"a life proper to matter.\" Only here, at the limit,\" do we per-ceive what Deleuze calls\n\na single phylogenetic lineage, a single machinic phylum, ideally con tinuous: the flow of matter-movement, the flow of matter in continuous variation, conveying singularities and traits of expression. This operative and expressive flow is as much artificial as natural: it is like the unity of human beings and Nature. But at the same time, it is not realized in the here and now without dividing, differentinting. We will call an as semblage every constellation of singularities and traits deducted from the flow-selected, organized, stratified-in such a way as to converge (consistency) artificially and naturally, an assemblage, in this sense, is a veritable invention. (ATP, 406) ",
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    "createdAt": "2025-05-11T23:38:58.769Z"
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