By G. D. Hishox
G. D. Hishox 1800 Mechaical routine units and Appliances1800 механических подвижных элементов и приборов. 16-е издание. Издается с 1921 г.Схемы механических подвижных устройств и их описание.
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Furthermore, it is important explicitly to draw out their consequences for his philosophy, and then for philosophy as a whole. This is what I propose to do here. 1. See present volume, 42. 45 COLLAPSE III, ed. R. com COLLAPSE III To understand what is at stake in this formula, we must reprise the problem of the moral and the political. In Précis de philosophie nue,2 I tried to develop the hypothesis of a sort of immanent eternity, an eternity of this earthly life, in so far as every second of a person’s life, properly scrutinised, offers, both in sensibility (the senses, sensuality, the passions) and in thought, a kind of infinite opening.
Cinema 1: The Movement-Image, Chapters 1 (3-12) and 4 (58-72). 4. Although this article is concerned with the link between Matter and Memory and Deleuze’s philosophy, we will make no further reference to the analyses in Cinema of Bergson’s masterwork, and the reader may, quite rightly, be surprised at this. But our aim is to clarify, to grasp the intimate relation between these two thinkers, something which is not the same as undertaking an exegesis of those Deleuzian texts expressly dedicated to Bergson.
A space (to be defined) of complexity, one image of which might be the coexistence of virtuals or ‘pure memory’, coincides with another space through the uncircumventable tract of a temporal passage. The grains present themselves – a ‘presentiment’ of themselves – at the bottleneck. To succeed in endowing each grain with the ‘spirit of complexity’ represented by the whole to which it belongs – this could, as in the Battle of the Caudine Forks, free this spirit, make it once more occupy the whole space.