A Thousand Plateaus II, Two Forms of Segmentarities, Lecture 3, 3 May 1977

<p><em>The Deleuze Seminars</em> is a collection of audio recordings, transcriptions, and English translations of, and supplemental materials from, the lectures French philosopher Gilles Deleuze gave during his career at the University of Paris 8.</p>

<p>Following publication of <em>Anti-Oedipus</em> in 1972, Deleuze continues to develop the proliferation of concepts that his collaboration with Guattari had yielded. Throughout the 1970s, Deleuze and Guattari’s interest in expanding these concepts continues, eventually producing the sequel, <em>A Thousand Plateaus</em>. In this group of lectures, Deleuze offers the multi-faceted focus of the semester’s work, mainly to distinguish two forms of segmentarity or two types of multiplicities, in seven different directions: 1) biographical, 2) organization, 3) centralization, 4) signification (<em>signifiance</em>), 5) sociability, 6) subjectivation, and 7) planification.</p>

<p>In session 3, 3 May 1977 (a truncated session, hence, a transcript fragment), the discussion with Richard Pinhas again is the focus, starting with a lengthy opening intervention: on a problem of time, proposing for temporality a process of metalization affecting repetitive musical syntheses. He locates this musically as a kind of pulsed time (e.g. in Philip Glass) in contrast to non-pulsed time (Boulez). Through Schoenberg, Pinhas locates two “schools”, one drawing from variations, and those proceeding by simple repetition, to whom he contrasts musicians of metallic music, with a diagrammatic mode of composition, (e.g., Hendrix, Glass, Ravel, Reich, Fripp, and Eno). Deleuze first seeks a definition of pulsation, the difference between pulsed and non-pulsed time as a way to understand the temporal distinction, identifying Chronos and pulsed time, but an irregularly pulsed Chronos, for which he states three coordinates. Deleuze does not accept Pinhas’s notion of “translation” between the two times since Deleuze deems their mixture unequal, one being given, the other needing to be produced, thus leading him to ask how non-pulsed time is produced. For Deleuze, non-pulsed time consists of a construction of a continuum of intensities and conjugations of flux, with the three non-pulsed aspects working together, for example, the voice in cinema, not a subjectivation but a hecceity. He also points to types of illness such as anorexia, what kind of conjugation of flux or emission of particles may arise, what thresholds are crossed.</p>

<p>No recording of this session is available currently. This dataset includes three files: a revised French transcription and new English translation in odt format, and the original French transcript from WebDeleuze. [WebDeleuze was founded by Richard Pinhas -- a student in Deleuze's seminars -- who, with the Deleuze family's support, developed transcripts and translations of many of the seminars.]</p>

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<p>Les Séminaires de Deleuze sont une collection d'enregistrements audio, de transcriptions et de traductions en anglais et de documents complémentaires des conférences que le philosophe français Gilles Deleuze a donné lors de sa carrière à l'Université de Paris 8.</p>

<p>Dans la séance 3, le 3 mai 1977 (séance coupée, donc un fragment de transcription), la discussion avec Richard Pinhas est à nouveau au centre, commençant par une longue intervention d’ouverture : sur un problème de temps, il propose comme temporalité un processus de métallisation affectant les synthèses musicales répétitives. Il situe cela musicalement comme une sorte de temps pulsé (par exemple chez Philip Glass) par opposition au temps non pulsé (Boulez). À travers Schoenberg, Pinhas situe deux « écoles », l’une s’inspirant des variations, et celles procédant par simple répétition, auxquelles il oppose les musiciens de musique métallique, avec un mode de composition diagrammatique, (par exemple, Hendrix, Glass, Ravel, Reich, Fripp et Eno). Deleuze cherche d’abord une définition de la pulsation, la différence entre temps pulsé et non pulsé comme moyen de comprendre la distinction temporelle, identifiant Chronos et temps pulsé, mais un Chronos irrégulièrement pulsé, pour lequel il énonce trois coordonnées. Deleuze n’accepte pas la notion de « traduction » de Pinhas entre les deux temps, car il considère que leur mélange est inégal, l’un étant donné, l’autre devant être produit, ce qui l’amène à se demander comment se produit le temps non pulsé. Pour Deleuze, le temps non pulsé consiste en une construction d’un continuum d’intensités et de conjugaisons de flux, les trois aspects non pulsés travaillant ensemble, par exemple la voix au cinéma, non pas une subjectivation mais une heccéité. Il pointe également des types de maladies comme l’anorexie, quel type de conjugaison de flux ou d’émission de particules peut survenir, quels seuils sont franchis.</p>