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Diagramming Deleuze - Passive Synthesis of Time by …

Deleuze cites and as relevant to his understanding of the passive synthesis.

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Secondly I will suggest that the three synthesis of time are not separated, instead they always overlaps and creating circuits and cycle of each other. Gilbert Simondon has addressed this question systematically in his lecture , where perception, memory-image (where he picked up Bergson), symbol constitutes cycles of invention. This circuits constitutes both a field of individuation of the biopsychic life in Deleuze’ own words, as well as a force of the will that traverse the limitations imposed by the need of coherence and causalities. Within the new technological condition, we are witnessing the amplification process of the circuits of synthesis of time. But this third synthesis in which the future is aways happening now, and the presence and the past becomes two dimensions of the future, is succumbed to the materiality of the phenomenons and practices. The third synthesis of time joins the first synthesis of time and becomes a habitude, which as we said before the Husserlian concept of sign, and then Heidegger’s critique of the . This new intuition serves as the filters and gives us the second synthesis of time with a new shape. That is to say, the autonomy promised by the third synthesis is no more than an illusion, since it is supported conceptually and materially by the network technologies, at the same time submits itself to the automation of technological apparatus – another passive synthesis par excellence.

title = "Gilles Deleuze: psychiatry, subjectivity, and the passive synthesis of time",

Onthe one hand, there is the continuation of the passive synthesis towards the96 The notion of 'fatigue' allows Deleuze to think of need and the desire that accompanies it tofulfil the need, in a positive sense without any recourse to lack or negativity.

or a passive synthesis (to use Deleuze ..

From a Deleuzian point of view, the first passive synthesis is undertaken by the imagination

The first stage of the dynamic genesis of sense, the primary order oflanguage, is found in the newborn infant. Deleuze draws from atradition of developmental psychology whose insights are expressed inthe vivid image of Daniel N. Stern: the infant's experience is a kindof human “weatherscape,” made up entirely of sequences ofrisings and fallings of intensity—the jolting of a bright lightor a sharp noise, the calming of a voice, or the explosive breakout ofa storm of hunger (The Interpersonal World of the Infant,1985). Deleuze will draw upon the writings of the French writerAntonin Artaud and call this life of intensities-in-motion the“body without organs.” This primary order of language(pure Noise as a dimension of the body) constitutes a first type ofnonsense. But in the midst of this world of intensities, there alsoappears a particular noise: the sound of the child's parents, or otheradults. Long before the infant can understand words and sentences, itgrasps language as something that pre-exists itself, as somethingalways-already there, like a Voice on high. But for the child theVoice has the dimensions of language without having itscondition. (Adults have the same experience when they hear a foreignlanguage being spoken.) For the infant to accede to the tertiaryarrangement of language (denotation, manifestation, signification), itmust pass through its secondary organization, which is the productionof the surface dimension of sense. How does this construction takeplace? From the flow of the Voice, the child will extract differentialelements of various orders (phonemes, morphemes, semantemes) and beginto synthesize them into diverse series.

The thirdly materiality concerns the question of support if we follow Derrida here. If we follow Deleuze’s three synthesis again. Firstly the synthesis of time as habitude, formed by being the same or resemblance; secondly the synthesis of time as mnénosyne, as passive becoming of the pure passed; the third synthesis of time as eternal recurrence. In these three synthesis of time, we can identify that Deleuze moves from Hume to Bergson and then to Nietzsche, from the passivity of the first synthesis to the second synthesis which can be both active and passive, and finally to the third that concerns autonomy. In this conception of autonomy, there is no origin or source, no coherence, but only consistence, a consistences produced by the resemblance of differences.

Passive Synthesis and Life | Gilles Deleuze | …

Keywords. Debt; Financial Capitalism; Gilles Deleuze; Melancholic subjectivity; Passive synthesis of time; Subjectification

The syntheses they bring about are passive since "it isnot carried out by the mind, but occurs in the mind which contemplates,prior to all memory and reflection" (Deleuze 1968, 71).

136Deleuze's Passive Syntheses of Time and the Dissolved SelfBy this liveliness, the experience transgresses itself towards a conviction, anexpectation, a habit.

Deleuze and Synthesis | Oedipus | Gilles Deleuze
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  • Difference and Repetition - Wikipedia

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    Deleuze and Synthesis

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Gilles Deleuze (January 18, 1925 ..

Habit makes pleasure-finding a trace': "Habit in the form of apassive binding synthesis precedes the pleasure principle and renders it pos-sible" (Deleuze 1968, 97).

Infinite Pragmatics: Peirce, Deleuze, and the ..

Active synthesis: through an ontology of diffence (reached through a critique of diffential notions) becoming conscious of the reductive workings of the dogmatic image of thought

Instead of subsuming difference under the Same, affirming it and in the process, being truer to the world Active synthesis is the proper conscious activity, replacing habit with thought

As such it is also the basis of representation, which implies thought and activity Relevance to later works of Deleuze: Active/passive synthesis and the objective/subjective notions of time form the unexplicated theoretical backbone of Deleuze's collaborations and his works on cinema.

He calls this a “passive” synthesis of time

The first stage of the dynamic genesis of sense, the primary order oflanguage, is found in the newborn infant. Deleuze draws from atradition of developmental psychology whose insights are expressed inthe vivid image of Daniel N. Stern: the infant's experience is a kindof human “weatherscape,” made up entirely of sequences ofrisings and fallings of intensity—the jolting of a bright lightor a sharp noise, the calming of a voice, or the explosive breakout ofa storm of hunger (The Interpersonal World of the Infant,1985). Deleuze will draw upon the writings of the French writerAntonin Artaud and call this life of intensities-in-motion the“body without organs.” This primary order of language(pure Noise as a dimension of the body) constitutes a first type ofnon-sense. But in the midst of this world of intensities, there alsoappears a particular noise: the sound of the child's parents, or otheradults. Long before the infant can understand words and sentences, itgrasps language as something that pre-exists itself, as somethingalways-already there, like a Voice on high. But for the child theVoice has the dimensions of language without having itscondition. (Adults have the same experience when they hear a foreignlanguage being spoken.) For the infant to accede to the tertiaryarrangement of language (denotation, manifestation, signification), itmust pass through its secondary organization, which is the productionof the surface dimension of sense. How does this construction takeplace? From the flow of the Voice, the child will extract differentialelements of various orders (phonemes, morphemes, semantemes) and beginto synthesize them into diverse series.

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