Deleuze Studies

Michel Foucault avait déclaré : « Un jour, peut-être, le siècle sera deleuzien. » Cent ans après la naissance de Gilles Deleuze, et trente ans après sa mort, cette prophétie s'est-elle réalisée ? Quel bilan pouvons-nous faire de l'influence de cette pensée ? En partie tributaire de l'actualité politique des années 1960, la pensée deleuzienne peut-elle rendre compte des défis propres au XXIe siècle ? Permet-elle de penser la gouvernance algorithmique ou la crise écologique ? À quoi peut servir la pensée de Deleuze, aujourd'hui ? C'est à ces questions que cet ouvrage se propose d'apporter des éléments de réponse, en abordant des domaines jusque-là inédits, comme le rapport de la pensée deleuzienne à l'écologie, à la sociologie ou à la pédagogie. L'ouvrage illustre différentes manières de faire « usage » de la pensée de Deleuze, de façon à la fois précise et créative.

Hype in the Culture Industry as a Deleuzian Rhizome A 4,500-word cartography of contagious sign-valves, mutant desiring-machines, and the non-linear escalation of attention-capital 1. Prelude: Enter the Rhizome-Hype Imagine a trailer dropped at 03:17 a.m. UTC. Within seven minutes it has been GIF-ed, captioned, lip-synced, slowed + reverb-ed, deep-fried, NFT-ed, protested, academic-tweeted, and turned into a 15-second ringtone for dialysis machines in a São Paulo infirmary. No centre dispatched it; no committee authorised its mutations. The clip is already "out there," a vector field of intensities rather than a message. Gilles Deleuze and Félix Guattari remind us that a rhizome "has no beginning or end; it is always in the middle, between things, interbeing, intermezzo." Hype, in the culture industry, behaves exactly like this: it is a rhizomatic multiplicity that proliferates by exteriority, shoots off plateaus, and escapes the arborescent logic of "release windows," "marketing plans," and "target demographics." The following text is an attempt to map that escape, not to explain hype away but to follow its lines of flight, to see where they break, where they accelerate, and where they re-territorialise back into profit. The essay is itself written as a quasi-rhizome: sections can be read out of order, but each plateau adds a layer of consistency to the conceptual assemblage. The aim is not to represent hype but to construct a workable diagram that lets us occupy it differently.

Background: Physical education (PE) has been traditionally considered as a practical and 'hands-on' subject in schools, where close proximity and physical contact is common, particularly in Spain which has a high proximity culture. Significantly, the delivery of PE has changed because of the Covid-19 pandemic, and this brings significant consequences for preservice PE teachers. Purpose: The aim of the paper is to explore the changes of PE during Covid-19 and the effects on pre-service teachers. Methods: Semi-structured interviews were used to produce data with a group of 12 preservice PE teachers from Spain (four women and eight men) who were undertaking their practicum in PE when the Covid-19 lockdown was imposed in Spain [14 March 2020]. Dredging was used as an analytical technique to identify the relations and affects that comprised assemblages of bodies, things and social formations. Findings: Results suggest that preservice teachers are having difficulties in re-assembling PE in the age of Covid-19, and that this produces the affects of precarity, fear and insecurity. Furthermore, the PE reassemblage also results in a shift of pedagogical affects. The participants particularly struggled to think on a PE assemblage that does not include the affect of physical encounters with their students. The new assemblage of PE also included encounters with digital technologies, which allowed for particular openings and closings for a re-alignment into the shifted PE. Conclusions: Pre-service teachers were unfamiliar with the way the PE assemblage has shifted, and this shifting affected their ability to produce affects in the 'new PE'. The new PE assemblage leads to a significant change in the culture of PE teaching in Spain, where physical contact between teachers and students was previously normal and taken for granted.

This argument entails an analogy of being in terms of ontological modes of subsistence but not other universals like participable virtues. Those modes of subsistence, though, are undeniably inherently qualitative (cf. Anselm & Scotus), hence, at bottom, quidditative. So, I’d reckon we must conclude that, while in many ways very much ontologically univocal, the fact that infinite & finite beings are manifestly analogical, subsistently, makes them a little bit pregnant in terms of ontological analogy (hence, sufficiently so, theologoumenally?).

Este comentario medita sobre el viaje desde la honesta aceptación de un universo sin sentido inherente hasta la construcción activa de una vida con valor. Partiendo de la premisa de que el nihilismo es un punto de partida lógico y no un fracaso, el texto propone una redefinición del vacío: no como una condena, sino como un "lienzo en blanco" que invita a la libertad. Se argumenta que el sentido no se encuentra, sino que se edifica a través de la acumulación de compromisos y acciones deliberadas. De este modo, el antídoto más eficaz contra la desesperanza no es un argumento, sino el peso tangible de una existencia que ha sido creada, y no meramente aceptada.

This article explores the concept of the "corrupt linguistic system" and its relation to the transition toward "post-language." Three different levels of linguistic systems are identified: true language, simulated language, and corrupt language. It is demonstrated how the collapse of the authentic relation between language and reality has led to the emergence of a linguistic order that itself carries false signifiers. This condition is associated with the crisis of the humanities in the era of post-structuralism and with the increase of mental entropy. In response to this crisis, the notion of "existential post-semiotics" is proposed, grounded in primary perceptions and the pre-signifying level, opening a new horizon for rethinking the foundations of the humanities and the arts. Furthermore, "intuition" is introduced as the faculty and potentiality of movement, while "consciousness as the fifth dimension" is presented as a novel framework for linking human beings, the world, and meaning. The conclusion suggests that the transition to post-language is not an illusion but rather a necessity for overcoming the paradoxical condition of contemporary humanity .

Sometimes the subordinate clause is while you still have friends. Causality abets restless energy; ensues credit. If stool the size of an infant's head is removed from one's cadaver, it's a sign. Adjust connective degenerations. What appears to the eye and touch after twenty or thirty years is the same after forty or sixty, singing, cords, casts, stuck to the bottom. (Deanna Ferguson, "Swoop Contract, " The Relative Minor, 51) The Remainder: Social Collage and the Four Discourses in (some of) the Kootenay School of Writing: Part II

The study of law in Spinoza cannot avoid confronting power and bliss—two concepts used very differently from modern natural law theory, but capable of completely changing its historical profile. This book demonstrates how, for Spinoza, law does not regulate human life solely on the basis of the high canon of dianoetic life, reason, but retreats to the lowest level of the subject's nutritive life, that is, the desire for self-preservation. The striking novelty is that law allows us to connect nutritive life to the intimate character of contemplation without object: the intuitive science of God, the origin of bliss and the maximum extension of the subject's power. This path has often been confused with a religiously inspired philosophy. Spinoza, on the contrary, is the first critic of the project of political theology: the law is not the product of divine revelation to men, or of the imposition of the absolute will of the sovereign, but is the expression of the immanence between the power of God and that of nature, that of the state and that of the multitude. The outcome of this rigorously materialistic thinking is a radical reform of politics and law, whereby bliss is the proposal of a new social bond and power affirms the idea of a natural norm that imposes an alternative vision to that of legal positivism.

***

Lo studio del diritto in Spinoza non può evitare di confrontarsi con la potenza e la beatitudine - due concetti usati molto diversamente dal giusnaturalismo moderno, capaci però di modificarne integralmente il profilo storico. Questo libro dimostra come, per Spinoza, il diritto non regola la vita umana solo sul canone alto della vita dianoetica, la ragione, ma arretra sino allo schema più basso della vita nutritiva del soggetto, cioè il desiderio di autoconservazione. La novità folgorante è che il diritto permette di collegare la vita nutritiva all’intimo carattere della contemplazione senza oggetto: la scienza intuitiva di Dio, origine della beatitudine e della massima estensione della potenza del soggetto. Questo percorso è stato spesso confuso con una filosofia d’ispirazione religiosa. Spinoza è, al contrario, il primo critico del progetto della teologia politica: la legge non è il prodotto della rivelazione divina agli uomini, o dell’imposizione della volontà assoluta del sovrano, ma è l’espressione dell’immanenza tra la potenza di Dio e quella della natura, quella dello Stato e quella della moltitudine. L’esito di questo pensiero rigorosamente materialistico è una riforma radicale della politica e del diritto per cui la beatitudine è la proposta di un nuovo legame sociale e la potenza afferma l’idea di una norma naturale che impone una visione alternativa a quella del positivismo giuridico.

Irena Szumilewicz-Lachman dealt with the philosophy of science, philosophy of nature, methodology of natural science and history of science. She investigated conventionalism, mainly on the basis of the achievements of Henri Poncarẻ. Her comments and analysis on the nature of time, and more broadly the philosophy of cosmology, were original and innovative, as they focused on the directionality of the passage of time. To this end, Szumilewicz-Lachman emphasized the role of beauty and truth had, as well as good sense on the Socratic method, on the contemplation of time in itself. In other words, all scientific work and research relies on a moral and aesthetic responsibility, for beauty and truth are the foothold of all existence.

This article introduces the concept and practice of transmethodologies (TMs) as a research frame that challenges the ways in which methodologies act as borders that create epistemological and ontological insides and outsides. TMs allow shifting the frame of inquiry from methodological borders, which impose disciplinary truths and hinder the permeability of knowledge across paradigms, to ontoepistemological boundaries in which knowledge making is performative and agentic. Based mostly on Deleuze, Barad and border and decolonial theories, this article describes the main theoretical prompts that form the bases of a transmethodological sensibility in qualitative inquiry: methodological performativity and agency, plan/e of immanence, differences and representations, nepantlas, ontoepistemological becomings, decolonial border thinking, rhizomes and (de)territorialization. To show the potential benefits that may derive from transcending dominant methodological borders of qualitative research, these concepts are applied to the case of family transnationality. For transnational families and those working with them, TMs open up new possibilities for knowledge and becoming by challenging set ontological and epistemological borders, moving the inquiry from representation to the critical analysis of the process in which practices, actors, and phenomena come into being as an ontoepistemological assemblage.

Esta reflexión se centra en dos aspectos, por un lado, hablando del cuerpo femenino en relación a la feminidad, el primer aspecto tendrá que ver con cómo potenciar esto que ya poseo, considerando que desde lo que poseo estoy capacitada de experimentar mi feminidad; el segundo aspecto responderá a la consideración de algunas manifestaciones femeninas dentro del contexto de aquello que he llamado porno-transgresión, estrategia que articula la violencia, la transgresión, el cuerpo, el sexo y una fuerte presencia de lo femenino desarrollándose en el terreno de lo pospornográfico para poder desarrollar esta propuesta.

https://hysteria.mx/notas-sobre-feminidad-molecular/

This paper develops a detailed reading of Deleuze's philosophical study of Bacon's triptychs in Francis Bacon: The Logic of Sensation. It examines his claims regarding their apparent non-narrative status, and explores the capacity of the triptychs to embody and express a spiritual sensation of the eternity of time.

En la primavera de 1993, el poeta irlandés Thomas Kinsella (1928-2021) publica en el segundo volumen de la revista Journal of Beckett Studies un comentario sobre los poemas de Samuel Beckett, titulado secamente “Poems of Samuel Beckett” [“Poemas de Samuel Beckett”]. El comentario de Kinsella parece servir al propósito de buscar en Beckett un conocimiento común y un contacto con la tradición irlandesa. Sin embargo, se encuentra con un hallazgo decepcionante: en los poemas de Samuel Beckett hay
una dimensión que “falta”: la dimensión de la comunicación, de la relación con una tradición, está ausente. Lo único que encuentra Kinsella en Beckett es el desarraigo de la psiquis, buscándose a sí misma como material para el poema.
El motivo de este artículo será el análisis y la contextualización de este texto en un posible diálogo entre Samuel Beckett y Thomas Kinsella, bajo la hipótesis de que la distancia que el poeta comentador marca con respecto al poeta comentado constituye una operación crítica en el campo de la literatura nacional irlandesa, destinada a reubicar a la obra poética de Beckett (a partir de aquella “falta”) en un lugar marginal, dominado por el desarraigo y la incomunicación. Sin embargo, al indagar en las áreas
que Kinsella decide no analizar podremos ver que su análisis se sostiene sobre un fuerte sesgo: delimitando ese sesgo podremos encontrar que entre la poética de Kinsella y la de Beckett existen más similitudes que las que el propio poeta parece querer hallar.

In recent years, a dominant philosophical and scientific trend has emerged that interprets processes of subjectivation in epigenetic terms—as the plastic adaptation of the individual to environment and experience. This contribution challenges the immanentist reading of plasticity by highlighting the “interferences” that affect form-generating processes. Through an analysis of Catherine Malabou’s concept of “destructive plasticity” and of the fragmentation of Riemannian space in the sub-Riemannian models proposed by Sarti, Citti, and Piotrowski, this paper argues that the lexicon of rupture, interruption, and discontinuity undermines the epigenetic framework. The hypothesis is that these interferences generate internal tensions within the very disciplines that aim to describe plasticity—namely neurobiology and neuromathematics—and call for a critical reinterpretation of plasticity beyond strict immanentism.

O objetivo deste artigo se constitui em problematizar,
numa pesquisa-intervenção1 com crianças do campo, uma
forma de estabelecer uma categoria de análise que possa
compreender minimamente a complexa relação desses
sujeitos com adultos.
A pesquisa com crianças envolve desafios especí-
ficos, tendo em vista que suas gramáticas podem transitar
mais entre os mundos real e imaginário (SARMENTO, 2002;
SAMPAIO, 2016). Dessa forma, em pesquisa, a depender da
idade e das singularidades de cada sujeito, a linguagem a
ser utilizada deve buscar se adequar.

Comparing The Great Gatsby with any of its adaptations invariably promotes the novel over its derivatives and is far less fertile than putting it alongside Jean Renoir's La Règle du jeu. During the interwar period, these incomparable masterpieces exhibit strikingly similar plots to address the moral decline of the upper class. Renoir directly borrowed this template from Musset's 1833 Les Caprices de Marianne, a hallmark of Romanticism. The competing forces of romantic desire, aristocratic values, and aesthetic modernism make these works comparably difficult to classify. The article introduces Orson Welles' Citizen Kane, which had already been compared to The Great Gatsby and was also filmed at the outset of WWII. Watching Welles' film beside Renoir's confirms André Bazin's view that cinema became modern at just this moment, by taking on a role comparable to that commanded by post-WWI American novels like Fitzgerald's. And examining Renoir beside Fitzgerald highlights the styles and strategies of both masterpieces as they pursued a large public and an authentic social critique. The article concludes by enumerating reasons and ways to compare 'original' works that bear similarities, whether mythic and universal or historical and particular.

This work analyses Gilles Deleuze's account and interpretation of Shakespeare's classic play Hamlet as it relates to poietic action. To accomplish such a comparison, it is established that Deleuze finds in Hamlet a proper definition of how Time can become free from the spatial joints and show itself as the pure Difference, or formal universality, that grounds all becoming. Hence, the main hypothesis of this work is that in Hamlet, Deleuze finds a model to explain not only poietic activity and creation but also the absolute ungrounding of Time. Secondly, it is also held that by exploring Hamlet's agency and play, it is possible to sustain an analysis that condenses the notions of Time out of joint and purely optic and sonic situation, which are deemed central to Deleuze's conception of Time as creative scission or Difference.

In this article, it is stated that both in traditional clinical practice and as a methodological strategy in social research, the ultimate ambition of Lacanian psychoanalysis is to listen to the subject, suspending any ontological presuppositions prior to the very diction in which they are enunciated. The subject is strictly specified as supposed and coextensive with the utterance. Conceiving him as attached to a psychic duo modeled on anthropomorphic anatomical-physiological projections is a particular case and an ethnocentric and historically dated reduction of a more general structure, thus not restricted to such specifications.

Özet
Henry Bergson çağdaş felsefede geri plana itilen metafiziğin yeniden sahneye çıkmasını sağlayan bir filozoftur. Kendinden önceki dönemde metafiziğin yaşadığı sahne değişimini yeniden gündeme getirerek farklı bir anlayış geliştiren Bergson; süre, madde, hafıza, yaratıcı tekâmül vb. kavramlarla metafiziği hem yaşamın bir çıkış noktası hem de bir yaşam felsefesinin inşasına kapı aralamayı başarmıştır.  Bergson’un metafizik anlayışı kendinden önceki filozoflarla hesaplaşması neticesinde ortaya çıkmış ve yaşamla bütünleşmiş bir şekilde cereyan etmiştir.
Bergson açısında metafizik hakikati kavramanın en üst basamağını oluşturan en üst felsefi bilimdir. Bu tanım bilim, felsefe ve metafizik arasındaki ilişkinin serimlenmiş halini yansıtır. Bilim evrende varolan devasa bilgiyi tek bir formülle izah etme sürecine girişirken, felsefe bir bilimin kendi hakikatlerini kavraması için gerekli olan yol ve yöntemi temin eder. Metafizik ise fenomeni aşmak ve fenomenin arkasında varolan nedenleri araştırarak amacını gerçekleştirmiş olur. Metafizikten bir yaşam felsefesi arayışına girişmek ise; felsefe-fizik-metafizik arasındaki ilişkiyi Bergson felsefesi bağlamında araştırıp irdelemekten geçer. Dolayısıyla bu çalışmanın amacı; Bergson metafiziğinin bir yaşam felsefesi inşasına kapı aralayıp aralamadığını tartışmak ve bir yaşam felsefesi denemesine metafizik temelden hareketle ulaşmaya çalışmaktır. Çalışma Bergson metafiziğini bir yaşam felsefesi olarak kavranmasında ve pratik alana nasıl ve ne şekilde aktarılacağına kapı aralayacaktır.
Anahtar Kelimeler: Metafizik, Hafıza, Bilinç, Süre, Zaman, Yaşam

"El Yo Fragmentado: Disociación y memoria traumática en Rabbits (2002) de David Lynch" La historia críptica, perturbadora e intrigante, donde tres conejos comparten inquietantes frases en un ambiente doméstico igual de intrigante y enrarecido. Bajo el ambiente tan opaco y hermético, el siguiente artículo propone una lectura desde la perspectiva de la disociación traumática. Los conejos representan distintas partes de una conciencia fracturada tras un incidente traumático: "El incidente del perro". Entendiendo a Susie como la representación del Yo original (la conciencia original que vivió el trauma), en contraparte, los conejos Jack y Jane, se manifiestan como mecanismos defensivos del aparato psíquico.

According to anthropology, humanity is not a "substance" but a process of permanent transformation of its features and potentialities. Digital wireless technology is a relevant and, at the same time, dangerous ally for the metamorphosis of humans and their natural and social environment. Indeed, new technology requires a co-creation of online activities and meanings as well as an active and deep involvement of users in everyday life. Such phenomenon can be defined as a 'process of subjectivation' since it is based on mediated interaction which produces a modification of that same individual. AI, therefore, provides a subjectivity shaping which implies several psychic dimensions such as consumption, judgement and affection. This work mainly focuses on the subjective implications of human-digital interaction in terms of the transformation of the way humans perceive and conceive their lives. In particular, does a digitally mediated environment guarantee a subjects' awareness? The work is conducted by interweaving interdisciplinary concepts and methodology to highlight the psychic emergence in the digital world and the processes of subjectivation determined by the constant online activity which is enriched by subjective, affective and cognitive human potentialities. Concepts such as consumption, judgment and affection are highlighted to analyze the psychic level of subjectivity and lead a reflection on the problem of awareness of subjects who establish a close correlation between their lives and the digital world.

En este trabajo se proponen puntos de contacto no explícitos entre las filosofías de Althusser y de Deleuze. Para ello, caracteriza-mos la práctica teórica y científica de Althusser como una práctica ligada a elementos alejados de una visión clásica o positivista: la indagación de causas ausentes, no visibles y no medibles da cuenta de una concepción novedosa de la ciencia, que sin dudas merece ser atendida. Si la ciencia en términos marxistas tiene por objeto una construcción del pensamiento y no un dato empírico, entonces ese objeto se emparenta con lo que Deleuze caracteriza como la diferencia. Por su parte, la filosofía de la diferencia deleuziana también puede ser ca-racterizada en los términos de lo que Althusser llama una práctica teórica. La metodología que comparten ambos filósofos, y aquello que guía la puesta en común que aquí realizamos, es la de la búsqueda del universal concreto.

Resumen: El cuarto capítulo de Diferencia y repetición es uno de los más complejos de toda la producción filosófica de Deleuze. Mi intención en este artículo es hacer una aproximación a la red de conceptos que lo componen a través de una clave de lectura: la elaboración de la noción de problema como un universal concreto. Veremos que para Deleuze la diferencia permite comprender las articulaciones del ser como devenir y del sentido como efecto. En ese marco, lo universal y lo singular se relacionan íntimamente a través del planteamiento de los problemas. El desarrollo de esta síntesis diferencial permite dar cuenta del estatuto objetivo de los problemas, en la medida en que conforman verdaderas estructuras, así como la instancia en que se generan sus actualizaciones diversas.

This report is a study on Franco lo Presti Seminério's Syntagmatic sieve, which is a personal statement by the author for the analysis of children's imagination through the syntagmatic analysis of the narrative text. Seminério, freed us information from the dimensions present in this sieve, that is, it only theorized and classified within the likert scale the causality, agency, temporal organization, contingency and integration that are part of the general creation of texts. In a group exercise formed by three graduates and extension students of letters and one of speech therapists and by our advisor Prof. Carla Verônica, who was a student at Seminério, saw the need to analyze more faithfully the concepts and sub-concepts present in each of the dimensions, and thus, enable the quantitative and qualitative measurement of children's narrative texts in the future. After studies, we chose the systemic network format to outline our proposal and considers Piaget's theory to analyze causality in its most epistemic sense (precausality and causality itself in the Objective, Temporal and Reversible Sequences), an Agentivity as a format of subject (characters in a story), temporal organization present in grammatical cohesion, contingency in the general analysis of node and climax of history -foundations for the structural dimension of the narrative and integration that constitutes grammatical coherence.

One of the main features of Gilles Deleuze's lectures of 1981 concerns the importance accorded to the notion of modulation as a philosophical definition of painting. The novelty of such a framework lies in the correspondences established between analogical operations and artistic spaces of Western art. This article establishes the main moments of this analysis and thus point out its main technical, historical, and aesthetic implications. Ultimately, the notion of modulation is considered as the conceptual operator of a "heterogenetic" history of art within the framework of Deleuze's philosophy.

I call Heidegger’s Denken des durchgekreuzten Seyns (the thinking of crossed-out Being) apophatic ontology, which Heidegger himself develops as the topology of crossed-out Being (Topologie des durchgekreuzten Seyns). In this article, I will show how Lacan uses it to found psychoanalysis purely, i.e. in a way that is both non-empirical and non-metaphysical, and how the topological thinking of crossed-out Being can be schematized in Lacanian topology of the hole.

A review of the following chapter in Ricœur, P. (1970). The conflict of interpretations. In Freud and philosophy: an essay on interpretation (pp. 20–36). Yale University Press.
This paper discusses Ricouer’s central claim which centres around the complexity of the interpretation and communication of meaning due to the presence of different hermeneutical schools of thought that disagree on
what classifies as the ‘truth’ of interpretations sought, the notion of truth itself, the ‘accuracy’ of related methodologies used to uncover it, as well as the mode of expression to which one can attribute meaning.

El pensamiento de la diferencia busca, esencialmente, repensar críticamente las lógicas fundacionales que sostienen el mundo occidental mediante una operación de deconstrucción de los conceptos fundamentales de la metafísica. Pero paradójicamente, en tanto la deconstrucción es también un discurso de fundamento –pues necesita, cuando menos, postular heurísticamente la existencia de una estructura fundada–, depende intrínsecamente de una serie de metáforas sin las cuales no es posible concebir fundamento alguno –es decir, sin las que no puede siquiera existir una ontología. Analizando la manera en que Foucault, Deleuze y Derrida han asumido y utilizado diversas metáforas geológico-estructurales para llevar adelante una renovación terminológica y teórica crucial, podemos ver la riqueza –y los límites– que un pensar de la tierra posee, lo que conduce a proponer una metáfora más propia para pensar el carácter intersticial de la producción del sentido y de la diferencia del ser: el abismo.

Pour célébrer le quarantième anniversaire de L'Image-temps et penser au présent le diptyque de Deleuze sur le cinéma : https://www.fabula.org/actualites/125009/l-image-mouvement-et-l-image-temps-de-gilles-deleuze-usages-contemporains-d-une-pensee-du-cinema.html

Gilles Deleuze is recognized as one of the leading philosophers of continental philosophy. Deleuze defined philosophy as the creation of concepts and himself as a pure metaphysician. Deleuze began his philosophy by reading system philosophers. Kant was one of the most prominent names among these readings. In the seminars he gave as a result of these readings, Deleuze encouraged his listeners to think
about Kant while at the same time analyzing the Kantian system. Deleuze’s analyses on Kant were appreciated by his contemporaries. This is because the difficulties in Kantian philosophy or the connections that could be considered vague were clarified through Deleuze’s readings. As a result of his analysis, Deleuze criticized Kant’s conceptions of the fixed subject, space-time and systematic thinking. Because
Kant’s conception of the fixed subject requires thinking tied to a system. Since the subject cannot go outside the system, it postpones thinking differently. Deleuze thought that Kant developed a system that negates different thinking with his understanding of categories, space-time and subject. While criticizing Kant’s system, Deleuze initiated a tradition of unsystematic thought in the context of rhizome
thinking and the conception of the subject in becoming. In this context, although he criticized Kant, he also carried Kantian influences into his philosophy. In this study, the interactions between Kant’s philosophy and Deleuze’s ideas will be discussed and the place of Kant in Deleuze’s philosophy will be discussed.

The philosophy of art work in postmodernist view is structuralist, and based on this issue, art cannot be considered as narrator because art as narrator based on structure, is dead art. According to structuralist view, Gilles Deleuze violates any representation in the visual arts. Therefore, by examining Deleuze's point of view, while identifying its lack of representation and explanation in photomontage, also explains the function of concepts in this field. The function of concepts in non-representation is only in the failure of the organizational structure and the creation of non-narrative works. The main question is what role does the concepts play in the lack of philosophical representation in photomontage? It has been assumed that concepts have a movement-oriented and creative role with the principle of being in photomontage. In conclusion, Deleuze, by violating narrative and being in the art of photography, considers photomontage to be a creative movement in fluidity that takes up time and space. The research method is done through library.

RESUMEN
La filosofía de Alain Badiou se presenta como una filosofía del movimiento, del flujo de la multiplicidad. Hablemos de su ontología, de su teoría del sujeto o de su maoísmo en contra del estalinismo, todo fluye en la filosofía de Badiou. Sin embargo, el movimiento y el flujo son en gran parte las características del capitalismo tardío que se presenta como
líquido. Con el fin de diferenciar estos dos movimientos, el autor propone pensar a la filosofía de Badiou en tanto que fuga que se opone a la huida o al escape del capitalismo a partir de una oposición entre el dominio del último en contra del abandono de la primera, lo que permite pensar, en Badiou, un sujeto secundario.

PALABRAS-CLAVE: Alain Badiou, capitalismo, flujo, fuga, subjetivación.

The relationship between affect, spatiality and pedagogical appropriation has in recent years received increased scholarly attention. In this article, a sociological-psychoanalytical exploration of historical praxis in German memory culture across pedagogical sites highlights the importance of absent historical discourses in determining collective understanding of memory, space, affect and subsequent ideation of empathy (or the lack of the same). Drawing primarily from Deleuzean and Lefebvrian premises, this brief reflection sheds light on the minutiae associated with selective remembrance and colonial amnesia. It examines how a fractured memory culture cross-pollinates with the inability to construct learning environments that draw upon collective mnemonic experience as multidirectional praxis, and is thus incapacitated of indulging in considerate treatment of traumatic memory as an advent point to move towards collectivised reparation.

This work aims to analyse Alain Badiou’s critique of Gilles Deleuze’s Logic of Sense and theory of the event in Logics of Worlds. This is done under the hypothesis that Badiou axiomatizes Deleuze to mathematically scrutinize the mainframe of Logic of Sense and finally break away with the empiricist approach towards the appearance of the bodies. In doing so, Badiou is able to formalize the resurgence of multiplicities per operation of the inconsistent multiple. Henceforth, this work focuses on Badiou’s employment of Deleuzian transcendentalism as an argumentative device to purport the formal condition of the appearance of bodies or multiplicities, as the vitalist analytic of the undifferentiated bodies is considered refuted.

This  essay,  presented  at  the  SPEP  2024  conference in  Rochester,  NY  (USA),  complements  Alan Schrift’s talk  on “Deleuze Universitaire” (linking Deleuze’s books  to  topics  in courses he taught and especially to annual subjects required for preparing  the  French  national agrégation examination)  by studying  the  experimental  side  of Deleuze’s teaching  in  the deliberately  experimental  university,  Vincennes,  created  in 1968-69.  Given  the  importance  of  Vincennes  itself  as  an educational  experiment, Deleuze’s teaching  there  develops  a particular  kind  of  pedagogy  that  I  trace,  both  while  at Vincennes  (until  1980),  then  at  St.  Denis-Paris  8  up  to  his retirement  (1987).  Finally,  I  consider  how  the  work  he pursued  in  these  seminars  constitutes  the  bases  for  several project in the “beyond” of Deleuze’s retirement.

Los filósofos modernos y contemporáneos se caracterizan porque en sus diversas teorías sobre el conocimiento se decantan por uno de sus modos y pretenden establecerlo como el fundamental y del cual se derivan, en todo caso, los demás.
Pero es necesario afirmar ya con todo energía que el saber en el ser humano es radicalmente plural desde sus inicios: que el saber –parafraseando a Aristóteles– se dice de varias maneras, porque las disposiciones del alma humana a la verdad son variadas y en cada una de ellas se hace presente la realidad de un determinado modo, sin detrimento de los demás. De esta manera, son igualmente importantes todos los modos del saber humano sobre la realidad, aunque sean tan distintos entre sí. El saber que da la tradición es tan importante como el saber artístico, el científico, el filosófico o cualquier otro tipo de saber que nace de alguna de las disposiciones del “animal que tiene logos”.
La filosofía moderna y contemporánea ha hecho variadas teorías sobre el conocimiento, variadas epistemologías; pero ha pasado por alto que cada modo de saber tiene su raíz en una correspondiente disposición del alma a la verdad. De manera que para remontar el “epistemologismo” moderno es necesario elaborar una filosofía de las disposiciones anímicas en torno a la verdad y su relación con la realidad que la hace posible.

Este artigo discute o descompasso entre os ritmos biológicos e os ritmos sociais emergentes a partir da Revolução Industrial. Para tal, são apresentados indícios de mudanças rítmicas nas últimas décadas, acarretando um processo contínuo e profundo de aceleração e mecanização sociocultural, predominante nas estruturas societárias capitalistas. Em seguida, discute-se a relação entre ritmos sociais e ritmos biológicos, com a contribuição conceitual advinda da Cronobiologia. Por fim, destaca-se o processo de surgimento e consolidação do Slow Movement nas últimas décadas, tornando-se mais um indício da desarticulação temporal vivenciada nos dias atuais.