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Schema of the Signifying Semiotic "The signifying semiotic: overcoding is fully effectuated by the signifier, and by the State apparatus that emits it; there is uniformity of enunciation, unification of the substance of expression, and control over statements in a regime of circularity; relative deterritorialization is taken as far as it can g by a redundant and perpetual referral from sign to sign. …
(1) The Center of the Signifier, the facility of god or despot. (2) The Temple or Palace, with priests and bureaucrats. (3) The organization in circles and the sign referring to other signs on the same circle or on different circles. (4) The interpretive development of signifier into signified, which then reimparts signifier. (5) The expiatory animal; the blocking of the line of flight. (6) The scapegoat, or the negative sign of the line of flight.
… Without privileging one regime over another, it is possible to construct schemas of the signifying and postsignifying semiotics that clearly illustrate the possibilities for concrete mixture."
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Schema of the Postsignifying Semiotic "The postsignifying semiotic, in which overcoding is assured by the redundancy of consciousness; a subjectification of enunciation occurs on a passional line that makes the organization of power (pouvoir) immanent and raises deterritorialization to the absolute, although in a way that is still negative. …
… Without privileging one regime over another, it is possible to construct schemas of the signifying and postsignifying semiotics that clearly illustrate the possibilities for concrete mixture.
(1) The point of subjectification, replacing the center of significance. (2) The two faces turned away from each other. (3) The subject of enunciation resulting from the point of subjectification and the turning away. (4) The subject of the statement, into which the subject of enunciation recoils. (5) The succession of finite linear proceedings accompanied by a new form of priest and a new bureaucracy. (6) The line of flight, which is freed but still segmented, remaining negative and blocked."
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Arborescent Schemas The subordination of the line to the point is clearly evident in the arborescent schemas: see Julien Pacotte, Le reseau arborescent, scheme primordial de la pensee (Paris: Hermann, 1936), and the status of centered or hierarchical systems according to Pierre Rosenthiehl and Jean Petitot, "Automate asocial et systemes acentres," Communications, no. 22 (1974), pp. 45-62. The arborescent schema of majority could be presented as [in the figure].
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What Is Philosophy?
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The Concept of the Cartesian Cogito he example of one of the best-known signed philosophical concepts, that of the Cartesian cogito, Descartes's I: a concept of self. This concept has three components—doubting, thinking, and being (although this does not mean that every concept must be triple). The complete statement of the concept qua multiplicity is "I think 'therefore' I am" or, more completely, "Myself who doubts, I think, I am, I am a thinking thing." According to Descartes the cogito is the always-renewed event of thought.
The concept condenses at the point I, which passes through all the components and in which I' (doubting), I" (thinking), and I"' (being) coincide. As intensive ordinates the components are arranged in zones of neighborhood or indiscernibility that produce passages from one to the other and constitute their inseparability. The first zone is between doubting and thinking (myself who doubts, I cannot doubt that I think), and the second is between thinking and being (in order to think it is necessary to be).
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A machinic portrait of Kant "We could imagine a machinic portrait of Kant, illusions included (see schema).
The components of the schema are as follows: 1) the ""I think"" :is an ox head wired for sound, which constantly repeats Self = Self; 2) the categories as universal concepts (four great headings): shafts that are extensive and retractile according to the movement of 3); 3) the moving wheel of the schemata; 4) the shallow stream of Time as form of interiority, in and out of which the wheel of the schemata plunges; 5) space as form of exteriority: the stream's banks and bed; 6) the passive self at the bottom of the stream and as junction of the two forms; 7) the principles of synthetic judgments that run across space-time; 8) the transcendental field of possible experience, immanent to the "I" (plane of immanence); and 9) the three Ideas or illusions of transcendence (circles turning on the absolute horizon: Soul, World and God)."