And everything that I learn, I learn for a particular task, and once it’s done, I immediately forget it, so that if ten years later, I have to – and this gives me great joy — if I have to get involved with something close to or directly within the same subject, I would have to start again from zero, except in certain very rare cases, for example Spinoza, whom I don’t forget, who is in my heart and in my mind.

Everything that I learn, I learn for a particular task, and once it’s done, I immediately forget it, so that if ten years later, I have to—and this gives me great joy—if I have to get involved with something close to or directly within the same subject, I would have to start again from zero, except in certain very rare cases... (The ABC Primer)

Gilles Deleuze et Félix Guattari, on peut se référer comme à des machines de guerre

A rhizome is a concept in post-structuralism describing a nonlinear network that "connects any point to any other point".[1] It appears in the work of French theorists Deleuze and Guattari, who used the term in their book A Thousand Plateaus to refer to networks that establish "connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences and social struggles" with no apparent order or coherency.

Human beings are different from what they seem to be thinking, perceiving, or saying asmediated by social symbolic systems [29 ]. They are different from how they are represented intheir own narratives, they are different from language itself. Interestingly, learning to consciouslybecome aware to that difference—the bare human spirit, the preindividual, or being as becoming asSimondon [30 ] puts it—appears to be the state of mind towards which many spiritual traditionsare guiding. David R. Weinbaum (Weaver) refers to this state as thought sans image [ 13], offering itscontemporary conceptualisation via the metaphysical theories of Henri Bergson, Gilbert Simondon andGilles Deleuze, in combination with the enactive theory of cognition [14 ] and inputs from complexityscience

Deshalb kann die Mannigfaltigkeit der Idee nie Objekt eines Wissens sein, sondern nur Element eines Lernprozesses. Aktualisieren heißt in diesem Sinn, sich in diese Mannigfaltigkeit des Virtuellen hineinzubegeben, Teilbereiche daraus zu aktualisieren und sich dabei zu modifizieren: Wie er sagt, lernt man schwimmen nicht durch mechanische Wiederholung von Schwimmbewegungen, sondern durch Einfügung der eigenen passiven Synthesen in jene des Wassers, durch Vorgänge der Verbindung und Verschmelzung der eigenen Partikel mit denen des anderen.

mittels eines Verfahrens, das man aufgrund seiner Fokussierung in die Tiefe, aber auch zahlreicher Überblendungen und der Aufblähung gewisser Denkpositionen zu Großaufnahmen und Nahansichten als kinematografisches bezeichnen kann.

der menschlichen Wahrnehmung eine Herausforderung

bei leibnitz hier kann man noch fehler forschen hier ist noch ziemlich viel unklar was diesen begriff anbelangt

aucun savoir de réserve

Perspektive der Filmfiguren

Adorno, TheodorW.: Gesammelte Schriften, 20 Bde., Bd. 3, Suhrkamp Verlag, Frankfurt a. M. 1981, S. 147–149).

more in the idea of disorder than in that of order

that which it to be retained in the habit and allowing the rest to be “forgotten”).

The reason why he ran at such as speed was that he had to be fast enough to avoid turning what he described into figures, and, quite literally, he had to cover lots of ground

Although Derrida, in a 2004 lecture, suggests that “Deleuze laughs at psychoanalysis, to me, sometimes, a little too quickly,” and he jokes that part of Deleuze’s “absolute originality in French” is “admiring Jung more than Freud,”[vii] it is Derrida himself who perhaps laughs too quickly in this case given the admiration for Jung expressed by Bergson, Bachelard, and Simondon

general theory of the creative imagination

Deleuze draws a different conclusion: judging images according to the degree to which they conform to the idea, imposes the constraints of Platonic representation on the simulacrum; ordering it according to the requirements of similarity and imitation, and thus obstructing its demonic “power of the false.” This is why Plato splits the domain of images in two, making that part which conforms to the original, the copy, placid in its conformity, while locking up that part which remains rebellious, the simulacrum, “in a cavern at the bottom of the Ocean.” This, Deleuze claims, is Plato’s motivation in setting up the domain of representation, overseen by the theory of ideas, which “philosophy will later recognise as its own” and which Nietzsche calls on those in the future to overthrow; by allowing the simulacrum to rise to the surface, in order to affirm its “phantasmatic power,” its power to deceive.

Information exceeds communication. Deleuze: “We do not lack communication. On the contrary, we have too much of it. We lack creation. We lack resistance to the present.” Information is at once this resistance, and what it resists — its own dead form, communication.McKenzie Wark, A Hacker Manifesto

One of Deleuze’s goals was to “deterritorialize” the West (which is equivalent to making it alien to natives) and to give advantages to “minorities.” Foucault wanted to transform history (in which the living are heirs of the dead), into a heap of chance events, cut off from each other, serving only to show the cruel domination of Westerners over others. For Bourdieu, inequalities were caused by perverse actions of the system on individuals who are equal, not only in rights, but in capacities.

Universities Since the 1970s, French university leftists (Gilles Deleuze, Michel Foucault, Jacques Derrida, and Pierre Bourdieu), have elaborated systems of deconstruction and delegitimization of the West, which have even reached the United States. This approach makes the white man a sedentary, anecdotal minority. This seems to have been a conscious ambition: to bring about an intellectual and philosophical revolution like those that had taken place in science and industry.

non-representationalist understanding of thinking as proposed by Gilles Deleuze and Félix Guattari in their What is Philosophy? (1994). Point of connection is the notion of mise en scène

L’homme a besoin d’exister et pour cela il doit pouvoir développer des pratiques que supportent les objets et à travers lesquelles il permet à sa libido de laisser des traces de ce en quoi consiste la – ou sa – singularité. Mais la réduction de toutes pratiques (savoir-faire des producteurs, savoir-vivre des consommateurs) à des usages normalisés par les sociétés de contrôle réduit leurs existences à une pure et simple subsistance. C’est ce que Gilles Châtelet appelait «Vivre et penser comme des porcs7».

Foucault voyait l'origine de ce double souci dans le pouvoir pastoral du prêtre - le troupeau et chacune des bêtes - mais le pouvoir civil allait se faire « pasteur » laïc à son tour avec d'autres moyens

The virtual is never the opposite of the actual—it is how the actual resonates beyond the limits of its actualization. It is the red-ness and warmth in the foregoing example.

Lorsque Gilles Deleuze distingue le virtuel du possible, il déplace les catégories de la métaphysique pour envisager un plan d’immanence. Cependant, il pense le « possible » comme différent du réel, une image du réel fabriquée après-coup, une forme d’identité et de ressemblance, posant un univers de limitation. En revanche, le « virtuel » est réalité par lui-même, son processus est celui de l’actualisation. C’est une multiplicité qui exclut l’identique. Son actualisation se fait par différenciation. Pour Deleuze, c’est un univers de création. [Le] possible et le virtuel se distinguent encore parce que l’un renvoie à la forme d’identité dans le concept, tandis que l’autre désigne une multiplicité pure dans l’Idée, qui exclut radicalement l’identique comme condition préalable. Enfin, dans la mesure où le possible se propose à la « réalisation », il est lui-même conçu comme l’image du réel, et le réel, comme la ressemblance du possible. C’est pourquoi l’on comprend si peu ce que l’existence ajoute au concept, en doublant le semblable par le semblable. […] Au contraire, l’actualisation du virtuel se fait toujours par différence, divergence ou différenciation.