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In the first chapter of Cinema 2, Deleuze picks up where he left off in Cinema 1 to discuss how the time-image is born from a crisis of the movement-image. Thus, instead of what Deleuze had described as perception-images, affection-images, action-images, and mental images (all types of movement-image), there are now "opsigns" and "sondsigns ...
Cinema 1: The Movement Image (French: Cinéma 1. L'image-mouvement) (1983) is the first of two books on cinema by the philosopher Gilles Deleuze, the second being Cinema 2: The Time Image (French: Cinéma 2. L'image-temps) (1985).
Deleuze's unusual metaphysics entails an equally atypical epistemology, or what he calls a transformation of "the image of thought". According to Deleuze, the traditional image of thought, found in philosophers such as Aristotle, René Descartes, and Edmund Husserl, misconceives thinking as a mostly unproblematic business. Truth may be hard to ...
Pages in category "Works by Gilles Deleuze" The following 18 pages are in this category, out of 18 total. ... Cinema 2: The Time-Image; D. Dialogues (Deleuze book)
The concept of the plane itself is significant as it implies that immanence cannot simply be conceived as the within, but also as the upon, as well as the of.An object is not simply within a larger system, but folds from that very same system, functioning and operating consistently upon it, with it and through it, immanently mapping its environment, discovering its own dynamic powers and ...
Deleuze's alternate image of thought is based on difference, which creates a dynamism that traverses individual faculties and conceptions. This thought is fundamentally energetic and asignifying: if it produces propositions, these are wholly secondary to its development.
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Deleuze looks at signs left by persons and events in Marcel Proust's In Search of Lost Time, illustrating how memory interprets the signs creatively but inaccurately. The jealous lover, for example, cannot accurately decipher the deceptions of his beloved.