Johns Hopkins University Press, 1976.
Excerpt, pg. 108:
... [T]he essence or the energy of the graphein [is] the originary effacement of the proper name. From the moment that the proper name is erased in a system, there is writing, there is a "subject" from the moment that this obliteration of the proper is produced, that is to say from the first appearing of the proper and from the first dawn of language.available here
Manchester University Press, 1988.
Excerpt, The Sign of History pg. 158:
It is observed that the people contradicts itself, tears itself asunder, and annihilates itself, that it is trifling and enslaved to opinions. –It is not the people that is fickle, but "language." ... Maybe prose is impossible. It is tempted on side by despotism and on the other by anarchy. It succumbs to the seduction of the former by turning itself into the genre of all genres (the prose of popular Empire) ... But the unity of genres is impossible, as is their zero degree. Prose can only be their multitude and the multitude of their differends.
Le capitalisme contemporain peut être défini comme capitalisme mondial intégré parce qu’il tend à ce qu’aucune activité humaine sur la planète ne lui échappe. On peut considérer qu’il a déjà colonisé toutes les surfaces de la planète et que l’essentiel de son expression concerne, à présent, les nouvelles activités qu’il entend surcoder et contrôler.
... [L']ambiguïté [du CMI] à l’égard des mutations machiniques matérielles et sémiotiques, caractéristiques de la situation actuelle, est telle qu’il utilise toute la puissance machinique, la prolifération sémiotique des sociétés industrielles développées, dans le même temps qu’il la neutralise par ses moyens d’expression économique spécifiques. Il ne favorise les innovations et l’expansion machinique qu’autant qu’il peut les récupérer, et consolider les axiomes sociaux fondamentaux sur lesquels il ne peut pas transiger : un certain type de conception du socius, du désir, du travail, des loisirs, de la culture.
Excerpt, Ch. 3: Public Image, pg. 37:
available hereThe moment high-speed photography was invented, making cinema a concrete possibility, the problem of the paradoxically real nature of 'virtual' imagery was in fact posed.
Any take (mental or instrumental) being simultaneously a time take, however minute, exposure time necessarily involves some degree of memorisation (conscious or not) according to the speed of exposure. Hence the familiar possibility of subliminal effects once film is projected at over 60 frames a second.
The problem of the objectivization of the image thus largely stops presenting itself in terms of some kind of paper or celluloid support surface - that is, in relation to a material reference space. It now emerges in relation to time, to the exposure time that allows or edits seeing.
Gilles Deleuze, Expressionism in Philosophy. New York: Zone Books, 1990.
From The Theory of Finite Mode, pg. 324:One and the same move reduces Being to the platitude of infinite perfection, things to the platitude of quantities of reality, ideas to the platitude of real causality -- and rediscovers all the depth of the world, but this, then, in an incomprehensible form.
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