DOI: 10.4231/antj-nd93
title: A Thousand Plateaus II, Two Forms of Segmentarities, Lecture 3, 3 May 1977

description: &lt;p&gt;&lt;em&gt;The Deleuze Seminars&lt;/em&gt; 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.&lt;/p&gt;

&lt;p&gt;Following publication of &lt;em&gt;Anti-Oedipus&lt;/em&gt; in 1972, Deleuze continues to develop the proliferation of concepts that his collaboration with Guattari had yielded. Throughout the 1970s, Deleuze and Guattari&rsquo;s interest in expanding these concepts continues, eventually producing the sequel, &lt;em&gt;A Thousand Plateaus&lt;/em&gt;. In this group of lectures, Deleuze offers the multi-faceted focus of the semester&rsquo;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 (&lt;em&gt;signifiance&lt;/em&gt;), 5) sociability, 6) subjectivation, and 7) planification.&lt;/p&gt;

&lt;p&gt;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 &ldquo;schools&rdquo;, 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&rsquo;s notion of &ldquo;translation&rdquo; 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.&lt;/p&gt;

&lt;p&gt;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&#39;s seminars -- who, with the Deleuze family&#39;s support, developed transcripts and translations of many of the seminars.]&lt;/p&gt;

&lt;p&gt;--&lt;/p&gt;

&lt;p&gt;Les S&eacute;minaires de Deleuze sont une collection d&#39;enregistrements audio, de transcriptions et de traductions en anglais et de documents compl&eacute;mentaires des conf&eacute;rences que le philosophe fran&ccedil;ais Gilles Deleuze a donn&eacute; lors de sa carri&egrave;re &agrave; l&#39;Universit&eacute; de Paris 8.&lt;/p&gt;

&lt;p&gt;Dans la s&eacute;ance 3, le 3 mai 1977 (s&eacute;ance coup&eacute;e, donc un fragment de transcription), la discussion avec Richard Pinhas est &agrave; nouveau au centre, commen&ccedil;ant par une longue intervention d&rsquo;ouverture : sur un probl&egrave;me de temps, il propose comme temporalit&eacute; un processus de m&eacute;tallisation affectant les synth&egrave;ses musicales r&eacute;p&eacute;titives. Il situe cela musicalement comme une sorte de temps puls&eacute; (par exemple chez Philip Glass) par opposition au temps non puls&eacute; (Boulez). &Agrave; travers Schoenberg, Pinhas situe deux &laquo; &eacute;coles &raquo;, l&rsquo;une s&rsquo;inspirant des variations, et celles proc&eacute;dant par simple r&eacute;p&eacute;tition, auxquelles il oppose les musiciens de musique m&eacute;tallique, avec un mode de composition diagrammatique, (par exemple, Hendrix, Glass, Ravel, Reich, Fripp et Eno). Deleuze cherche d&rsquo;abord une d&eacute;finition de la pulsation, la diff&eacute;rence entre temps puls&eacute; et non puls&eacute; comme moyen de comprendre la distinction temporelle, identifiant Chronos et temps puls&eacute;, mais un Chronos irr&eacute;guli&egrave;rement puls&eacute;, pour lequel il &eacute;nonce trois coordonn&eacute;es. Deleuze n&rsquo;accepte pas la notion de &laquo; traduction &raquo; de Pinhas entre les deux temps, car il consid&egrave;re que leur m&eacute;lange est in&eacute;gal, l&rsquo;un &eacute;tant donn&eacute;, l&rsquo;autre devant &ecirc;tre produit, ce qui l&rsquo;am&egrave;ne &agrave; se demander comment se produit le temps non puls&eacute;. Pour Deleuze, le temps non puls&eacute; consiste en une construction d&rsquo;un continuum d&rsquo;intensit&eacute;s et de conjugaisons de flux, les trois aspects non puls&eacute;s travaillant ensemble, par exemple la voix au cin&eacute;ma, non pas une subjectivation mais une hecc&eacute;it&eacute;. Il pointe &eacute;galement des types de maladies comme l&rsquo;anorexie, quel type de conjugaison de flux ou d&rsquo;&eacute;mission de particules peut survenir, quels seuils sont franchis.&lt;/p&gt;
description: Seminar with only 3 sessions available, given by French philosopher Gilles Deleuze at the Vincennes University. The third lecture available was presented on 3 May 1977.