“Deleuze gives us new concepts to account for what exists and for reality, in particular, in his definition of reality as both the virtual and the actual. For example, a coconut is both an actual coconut and the intensities or pure becomings it expresses in the encounter with the sensations of individuals (to become hard, to become grainy, to become hairy, to quench, to nourish).” -Williams, James. Gilles Deleuze’s Difference and Repetition: A Critical Introduction and Guide (pp. 7-8). Edinburgh University Press. Kindle Edition.
Been considering doing this for some time now, but have been holding back out of intimidation. But sometimes it’s like skydiving: you step through the threshold and gravity does the rest. I want to attempt a rough (and necessarily incomplete (sketch of what Williams describes as lying at the core of Difference and Repetition.
It starts with Deleuze’s slant on Kant’s model of how we come to know reality via the sensible, imagination, and apprehension. Deleuze’s model or Doctrine of the Faculties (according to Hughes’ secondary text (runs from the sensible to imagination onto memory and, finally, into thought. In terms of the first three points, we are looking at passive syntheses. It is not until we reach thought in Deleuze’s model (or Apprehension in Kant’s (that we start to move into active synthesis.
Now, returning to Williams, what this results in (and here we have to think of the individual as a space in which thoughts take place (is the subject’s engagement with reality or an object (or even an experience (as not an “all at once thing” thing, but rather a process of becoming. Whatever we are looking at or analyzing, we are always doing so in a shifting context: the virtual as compared to the actual. And the rest of the book is pretty much an analysis of the relationship between the virtual and the actual and its implications –that is if I am understanding it right.
And here again, we return to the import of the temporal in post-structuralist/modern thought that leads to the kind of postmodern smear that is so attractive (that which seduces and resonates with (to so many of its practitioners. Here we see the genealogical root of why it was Deleuze & Guatarri had to “tone it down” for A Thousand Plateaus after seeing how self destructive people (for instance: drug addicts (adapted many of the ideas and concepts of The Anti-Oedipus to their own ends: how they embraced the speed smear of the constant acceleration that Deleuze saw our full potential in.