BWO


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BWO

(electronics)
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In a state of throughness, the BwO may undergo a functional delocalization.
If in "Sun" and "Crab" the Big Bang filled everything with paroxysm, in "Farruca" it aims to liberate being from the metaphysical constraints of the center and transcendence, promoting, in contrast, a restless and vital BwO that projects itself towards the realm of the endless possibility, sheer poiesis.
In this paper, the measurements of terahertz atmospheric transmission in the range of 250 - 350 GHz frequency are carried out by BWOs under known conditions of path length, temperature, and pressure.
Gilles Deleuze and Felix Guattari offer that the BwO plays the same role as Duns Scotus's concept of haecceity which they adopted and adapted in Anti-Oedipus (Cf, chapter I.2,) (19) and then developed in Mille Plateaus (Cf, chapter VI) in order to account for what sort of reality my mind exactly consists in, A haecceity is made up of "relations of movement and rest between molecules or particles, capacities to affect and be affected," (A Thousand Plateaus, English translation, 261,) It could be argued that here Deleuze is pursuing Henri Bergson's empiricist objective: how can I explain what is specific in a thing without imposing upon it an illusory unity?
(36) Of the "Body without Organs" (or BwO), Deleuze and Guattari (1987) write:
Both reformed the BWO at WWE's ECW reunion show, One Night Stand.
The masochist has made himself a BwO under such conditions that the BwO can no longer be populated by anything but intensities of pain, pain waves.
Unlike alterable socio-culturally and psychologically set limits, the BwO constitutes an "illimitable [limit]," as Tim Dean would term it (Beyond Sexuality 210), (23) that puts identity within a process of continuous construction: "[y]ou never reach the Body without Organs, you can't reach it, you are forever attaining it, it is a limit" (ATP 150).
Artaud's formulation was famously adopted by Gilles Deleuze and Felix Guattari, whose theorization of the "body without organs" (BwO) maps over Artaud's particular modernism on several points: It operates outside "signifiance" (language, the symbolic), concerns itself with "intensities" (often characterized as "vibrations"), and opposes the synthetic unity of the "organism." What Deleuze and Guattari state about the body without organs' relationship to the organs themselves proves equally true of, or so I would argue, Artaud's relationship to artistic medium: "The BwO is not at all the opposite of the organs.
There are three main syntactic constituents which together define the basic word order (BWO) of a language; subject, verb and object.
This body without organs (BwO) is a common Outside, a "common plane of immanence" shared by all individuals (Deleuze 1988, 122), in which organizations occur as events whose accomplishment can never be finalized: