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In Bergsonism, Deleuze writes that "virtual" is not opposed to "real" but opposed to "actual", whereas "real" is opposed to "possible". [3] Deleuze identifies the virtual, considered as a continuous multiplicity , with Bergson's " duration ": "it is the virtual insofar as it is actualized, in the course of being actualized, it is inseparable ...
Gilles Deleuze was born into a middle-class family in Paris and lived there for most of his life. His mother was Odette Camaüer and his father, Louis, was an engineer. [7] His initial schooling was undertaken during World War II, during which time he attended the Lycée Carnot. He also spent a year in khâgne at the Lycée Henri IV.
The plane of immanence thus is often called a plane of consistency accordingly. As a geometric plane, it is in no way bound to a mental design but rather an abstract or virtual design; which for Deleuze, is the metaphysical or ontological itself: a formless, univocal, self-organizing process which always qualitatively differentiates from itself.
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). Together Cinema 1 and Cinema 2 have become known as the Cinema books, the two volumes both complementary and interdependent. [ 1 ]
Desiring production is a primary and transcendental (in the immanent or Kantian sense) and virtual process of the perpetual emergence of corporeal, and incorporeal relations, which develop and emerge from real genetic, organic, and anorganic histories, social machines, and contingent worlds or "modes" of desiring production. Desiring machines ...
Dialogues (French: Dialogues) is a 1977 book in which Gilles Deleuze examines his philosophical pluralism in a series of discussions with Claire Parnet. It is widely read as an accessible and personable introduction to Deleuze's philosophy along with Negotiations. The book contains an exposition of Deleuze's concepts and methodologies in which ...
However, in 2011 David Deamer published an essay titled 'A Deleuzian Cineosis: Cinematic Semiosis and Syntheses of Time' in what was then called Deleuze Studies, which returned to Rodowick's brief comment and explored the claim in depth, writing 'the impetus for the taxonomy of the time-image lies in the account given of the three passive ...
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