> Like Jon noted, D&G reject
> ideology because it implies some sort of error or transcendence. [...]
> Deleuze attempts to take transcendence out of the picture in this
> stuff on the brain in the volumes on CINEMA, and in the conclusion
> to WHAT IS PHILOSOPHY?. I would also suggest that Deleuze's ontology
> of Univocal Being leads him to reject metaphor too.
OK, then I need help in understanding the terms in which D
describes the pre-war French school and the German Expressionists
in Chapter 3 of _Cinema_1_. Here is a typical passage:
"What appeared in this way with the French school was a new way
of conceiving the two signs of time: the interval has become the
variable and successive numerical unit, which enters into
metrical relationships with the other factors, in each case
defining the greatest relative quantity of movement in the
content and for the imagination; the whole has become the
simultaneous, the measureless, the immense, which reduces
imagination to impotence and confronts it with its own limit,
giving birth in the spirit to the pure thought of a quantity of
absolute movement which expresses its whole history or change,
its universe. This is exactly Kant's mathematical sublime."
- malgosia
------------------
> ideology because it implies some sort of error or transcendence. [...]
> Deleuze attempts to take transcendence out of the picture in this
> stuff on the brain in the volumes on CINEMA, and in the conclusion
> to WHAT IS PHILOSOPHY?. I would also suggest that Deleuze's ontology
> of Univocal Being leads him to reject metaphor too.
OK, then I need help in understanding the terms in which D
describes the pre-war French school and the German Expressionists
in Chapter 3 of _Cinema_1_. Here is a typical passage:
"What appeared in this way with the French school was a new way
of conceiving the two signs of time: the interval has become the
variable and successive numerical unit, which enters into
metrical relationships with the other factors, in each case
defining the greatest relative quantity of movement in the
content and for the imagination; the whole has become the
simultaneous, the measureless, the immense, which reduces
imagination to impotence and confronts it with its own limit,
giving birth in the spirit to the pure thought of a quantity of
absolute movement which expresses its whole history or change,
its universe. This is exactly Kant's mathematical sublime."
- malgosia
------------------