"Certainly music traverses our bodies in profound ways, putting an ear in the stomach, in the legs and so on. It knows all about waves and nervousness. But it involves our body, and bodies in general, in another element. It strips bodies of their inertia, of the materiality of their presence: it disembodies bodies.....


Music, for its part, is faced with the same task, which is certainly not to render the scream harmonious but to establish a relationship between the sound of the scream and the forces that sustain it.......
If we scream, it is always as victims of invisible and insensible forces that scramble every spectacle and that even lie beyond pain and feeling. This is what Bacon means when he says, "I want to paint the scream more than the horror" If we could express this as a dilemma it would be: either I paint the horror and I do not paint the scream, because I make a figuration of the horrible; or else I paint the scream, and I do not paint the visible horror, I will paint the visible horror less and less, since the scream captures or detects an invisible force. Alban Berg knew how to make music out of the scream in the scream of Marie, and then in the very different scream of Lulu"


----Gilles Deluze