200 definitions
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Gilles Deleuze: top 200 quotes
200 definitions
Love (n.) is an act, an 'experiment', that which one does in order to provoke a novel occurrence, to elicit a new event, to produce a new body.
Love (n.) is experience as experiment. Ecstasy is an accidental, unsought, unexpected experiment.
Love (n.) is that which we do so we can be jealous. Jealousy is finality, destination.
Art (n.) is not chaos, but a composition of chaos, a composed chaos, capable of being neither predicted nor anticipated . It has a therapeutic aspect. There wasn't ever any art but only medicine.
Art (n.) is, despite all appearances, never imitative. It simply cannot be. A painted bird 'occurs' only to the extent that the bird itself is in the process of becoming something else, a pure line and pure color.
Art (n.) is not communicative, art is not reflexive. Art, science, philosophy are neither contemplative, neither reflexive, nor communicative. They are creative, that's all.
Art (n.) is that about which it can be said that: Perhaps one day we will know that there wasn't any art but only medicine.
Art's (n.) only duty is to add more varieties. As a way of perceiving the world, it allows to engage with the world outside any pre-existing forms, categories or conceptual schemata.
Abstract painting (n.) is nothing but sensation. It is 'paths that go for a walk' in their surroundings.
Truth (n.) changes what we think and alters what we think is possible.
Capitalism (n.) is the encounter between the flow of money-capital and the flow of labor.
Capitalism (n.) is a deterritorialization, i.e. a form of decoding. It is all about undoing and deconstructing everything. So the only rule we have left is the rule of the individual.
Capitalism (n.) is a form of madness, and as a way beyond the madness of capitalism, he proposes intensifying the madness, continuing the process of deterritorialization, intensifying the proliferation of aleatory flows of desire, until every order and organization is simply overwhelmed and implodes: Schizoid desire, pure autopoesis.
Capitalism (n.) is rational in all things except for in capitalism itself. The stock market has hyper-rational rules but in action is pathological madness, an irrationality, a dementia and a false rationality.
Capitalism (n.) is the decoding and recoding mechanism that imposes 'a law of general equivalence in the form of monetary value.
Power (n.) is merely a reterriorialized form of desire.
Power (n.) is the capacity to become different.
Power (n.) is a relation between forces and a force as foucault indicates, is a set of actions upon actions.
Power (n.) is an operation rather than an essence. It creates singularities that are not necessarily 'material' but the relationships of force.
Power (n.) is not what the will wants, but on the contrary, the one that wants in the will.
Power (n.) is only one element of an assemblage, which are defined by their lines of flight.
Power (n.) is subordinated to the primacy of desire, the principle of connectionism, and the event that becomes before power apparatuses that capture the flows.
Power (n.) proceeds by constituting those over whom it exercises power.
Power (n.) is the the power to act rather than the power to dominate. It is the ability to affect and to be affected, to form assemblages or consistencies.
Thinking (n.) is a result of being forced to do so by something in the world: That something is not a recognition but a fundamental encounter.
Thinking (n.) is liberated by encounters with difference in thought.
Criticism (n.) is not denunciation, but working your way back to those problems which an author of genius has posed, all the way back to that which he does not say in what he says, in order to extract something that still belongs to him, though you also turn it against him.
Criticism (n.) is showing the object of criticism as beautiful, as magnificent. One has to love what they criticize and give it a new beauty, as 'good destruction requires love'.
Style (n.) is the movement of concepts.
Style (n.) is a matter of stuttering, of fashioning a foreign language within one's own tongue. As such, the object in writing is to instill movement in words, to engender a 'becoming-other' of language.
Style (n.) is, in philosophy, oriented around three different poles: New ways of thinking (concepts), new ways of seeing (precepts) and new ways of feeling (affects).
Style (n.) is needed to raise lived perceptions to percepts and lived affections to affects.
Style (n.) is the raising of affections to affects, that is, it is the act of turning mere feelings within man into something that exceeds man to the extent that we might say it exists in the absence of man).