What interests us in operations of striation and smoothing are precisely the passages or combinations: how the forces at work within space continually striate it, and how in the course of its striation it develops other forces and emits new smooth spaces.
GILLES DELEUZENietzsche’s break with Schopenhauer rests on precisely this point; it is a matter of knowing whether the will is unitary or multiple.
More Gilles Deleuze Quotes
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Philosophy is not in a state of external reflection on other domains, but in a state of active and internal alliance with them, and it is neither more abstract nor more difficult.
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Every time someone puts an objection to me, I want to say: ‘OK, OK, let’s go on to something else.’ Objections have never contributed anything.
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According to Beckett’s or Kafka’s law, there is immobility beyond movement: beyond standing up, there is sitting down, and beyond sitting down, lying down, beyond which one finally dissipates.
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Images exist; things themselves are images… Images constantly act on and react to one another, produce and consume. There is no difference between images, things and movement.
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belief is necessarily something false that diverts and suffocates effective production.
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The plane of consistency is the abolition of all metaphor; all that consists is Real.
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A tyrant institutionalises stupidity, but he is the first servant of his own system and the first to be installed within it.
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A leftist government doesn’t exist because being on the left has nothing to do with governments.
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The philosopher creates, he doesn’t reflect.
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A creator is someone who creates their own impossibilities, and thereby creates possibilities.
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Let us create extraordinary words, on condition that they be put to the most ordinary use and that the entity they designate be made to exist in the same way as the most common object.
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The aim of critique is not the ends of man or of reason but in the end the Overman, the overcome, overtaken man. The point of critique is not justification but a different way of feeling: another sensibility.
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In order for music to free itself, it will have to pass over to the other side – there where territories tremble, where the structures collapse, where the ethoses get mixed up, where a powerful song of the earth is unleashed, the great ritornelles that transmutes all the airs it carries away and makes return.
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One of the principal motifs of Nietzsche’s work is that Kant had not carried out a true critique because he was not able to pose the problem of critique in terms of values.
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Nietzsche’s break with Schopenhauer rests on precisely this point; it is a matter of knowing whether the will is unitary or multiple.
GILLES DELEUZE