Relevant bibliographies by topics / Gilles Deleuze

Academic literature on the topic 'Gilles Deleuze'

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Journal articles on the topic "Gilles Deleuze"

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Brians, Ella. "Gilles Deleuze." Graduate Faculty Philosophy Journal 27, no. 1 (2006): 214–17. http://dx.doi.org/10.5840/gfpj200627127.

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Justaert, Kristien. "Gilles Deleuze." Articles spéciaux 65, no. 3 (March 24, 2010): 531–44. http://dx.doi.org/10.7202/039049ar.

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L’interprétation de la philosophie de Gilles Deleuze comme « projet de rédemption » fait de lui un candidat propre à une évaluation théologique. Afin de révéler l’importance potentielle de Deleuze pour la théologie, je me concentre d’abord sur les caractéristiques mêmes de ce projet de rédemption. Dans la deuxième partie de cet article, je confronte les idées de Deleuze à la théologie de la libération. Est-ce que sa vision politique est assez forte pour pouvoir supporter une théologie de la libération ou offre-t-il plutôt une « ontologie pour le bouddhiste occidental » ? Je conclurai que la pensée de Deleuze tend vers cette deuxième option.
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Boundas, Constantin V. "Gilles Deleuze." Symposium 5, no. 1 (2001): 126–32. http://dx.doi.org/10.5840/symposium20015110.

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Olkowski, Dorothea. "Gilles Deleuze." International Studies in Philosophy 29, no. 1 (1997): 137–38. http://dx.doi.org/10.5840/intstudphil199729118.

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Donkel, Douglas L. "Gilles Deleuze." International Studies in Philosophy 33, no. 4 (2001): 123–25. http://dx.doi.org/10.5840/intstudphil200133449.

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Buchanan, Ian. "Gilles Deleuze." International Studies in Philosophy 35, no. 1 (2003): 150–52. http://dx.doi.org/10.5840/intstudphil2003351236.

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Ray, Matthew. "Gilles Deleuze." Philosophers' Magazine, no. 12 (2000): 61. http://dx.doi.org/10.5840/tpm200012141.

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Scott, Simon. "Gilles Deleuze." Teaching Philosophy 34, no. 4 (2011): 443–46. http://dx.doi.org/10.5840/teachphil201134457.

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Junutytė, Laura. "KAI KURIŲ GILLES’IO DELEUZE’O SĄVOKŲ TEORINĖS IŠTAKOS." Problemos 76 (January 1, 2009): 225–35. http://dx.doi.org/10.15388/problemos.2009.0.1930.

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Straipsnyje analizuojama dviejų Deleuze’o tapsmo ontologiją paveikusių klasikinių filosofų – Benedikto Spinozos ir Gottfriedo Leibnizo koncepcijos, ieškant jų įtakos pagrindinėms Deleuze’o sąvokoms. Tyrimo atspirties tašku pasirinkti Deleuze’o veikalai, skirti analizuoti minėtiems autoriams, kuriais remdamasis Deleuze’as kūrė savo autorinę filosofiją. Straipsnyje remiamasi teze, jog Deleuze’o filosofija nesuvokiama be nuorodų į klasikinę filosofiją. Jo sąvokos – senųjų sąvokų keitimo ir atnaujinimo rezultatas. Straipsnio pradžioje nagrinėjama Deleuze’o santykio su klasikiniais autoriais problema: kokios priežastys ir motyvai skatino Deleuze’ą domėtis filosofijos istorija pasirenkant mąstytojus, išvengiančius filosofijos tradicijos? Kokia prieiga prie klasikinių tekstų jam būdinga?Pagrindiniai žodžiai: imanencija, išraiška, būties vienbalsiškumas, klostė, įvykis.The Theoretical Origins of Some Gilles Deleuze’s ConceptsLaura Junutytė SummaryThe article analyzes the conceptions of Benedictus Spinoza and Gotfryd Leibniz, the authors who mostly influenced the ontology of becoming of Gilles Deleuze. The main object of this research is the first Deleuze’s publications about the traditional philosophers who became the basis for creating his original philosophy. The main thesis of this article is that Deleuze’s philosophy is incomprehensible without references to traditional philosophy because his concepts are a result of the transformation of old concepts. In the beginning of the article, the problem of Deleuze’s relationship with classical philosophers is considered: what kind of reasons and motives forced Deleuze to follow the history of philosophy and to choose the authors who avoid the tradition of philosophy? And what method was applied in reading these classical texts?Keywords: immanence, expression, univociy of being, the fold, the event.
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Knee, Philip. "DELEUZE, Gilles, Foucault." Laval théologique et philosophique 43, no. 1 (1987): 111. http://dx.doi.org/10.7202/400284ar.

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Dissertations / Theses on the topic "Gilles Deleuze"

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Vankeerberghen, Véronique. "L'ontologie de Gilles Deleuze." Paris 8, 2001. http://www.theses.fr/2001PA081904.

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L'objet du travail a pour visée d'interroger la politique de pensée de Deleuze, à savoir les réquisits et effets du choix de l'immanence, de l'univocité ontologique et d'une virtualisation de certains dispositifs philosophiques. Il s'agira de montrer que le choix politique de l'immannence véhicule des garanties (égalité ontologique) et des contraintes (différence asymétrique) et que, doublé du choix d'une concaténation de certains systèmes philosophiques (les Stoîciens, Hume, Leibniz, Spinoza, Kant, Nietzsche, Bergson), il oriente la saisie des problèmes de la différence pure et de la co-genèse de l'être et de la pensée. . .
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Salucci, Marco. "Gilles Deleuze, une inéfinition esthétique." Paris 8, 2014. http://www.theses.fr/2014PA084150.

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La notion de ressemblance, l’inconscient œdipien, l’ordre de la grammaire, sont respectivement trois manières finalisées à définir la sensibilité, le désir, l’écriture. Cependant, la philosophie de Deleuze fait dysfonctionner la ressemblance, délirer le désir, met sous tension la grammaire. Dans cette thèse, nous proposons une approche opératoire de la pensée de Deleuze afin de montrer par quels mouvements et par quels concepts, la définition atteint ses limites et la pensée retrouve le véritable étonnement philosophique. Lorsque désir et objet, Dire et Faire, corps et sensation, se retrouvent dans une zone indéfinie, la philosophie ne concerne plus la pensée, elle fait sensation. Cette thèse décompose et explicite les mouvements et les milieux où les concepts deleuziens se forment en partant de la destitution d’un objet clair, pensé et défini. Les vitesses qui parcourent sa philosophie seront mises en contrepoint avec des œuvres d’art qui permettront d’activer une sensation au delà de tout objet défini et en-deçà de tout sujet constitué. Nous verrons comment les trajets indéfinis de leur destitution parcourent une surface dans laquelle la notion de création rencontre, chez Deleuze, la vie
The concepts of similarity, unconscious Oedipal tendencies, and grammatical order are, respectively, three basic ways of framing sensibility, desire, and writing. Deleuze’s philosophy, however, dismisses this understanding; he renders similarities dysfunctional, while enflaming desire and energizing grammar. In this thesis, we propose an operative approach to Deleuze’s thought, in order to show how it has reclaimed the power of shocking philosophical insight. When desire and its object, or the declaration and its accomplishment, as well as the body and its capacities of sensation, are left in an indefinite area, philosophy is no longer confined to realm of thought; it creates a sensation. This thesis deconstructs and makes explicit those areas where Deleuzian concepts take on this matter of the removal of the certain object. The quick thinking that runs through his philosophy will be placed in counterpoint to those works of art that activate a sharp feeling beyond all defined objects and subject matter. We will see how such undefined paths give rise to a surface where the notion of creation is, according to Deleuze, life itself
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Andrew, Culp. "Deleuze Beyond Deleuze: Thought Outside Cybernetics." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71595.

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Raby, John. "Gilles Deleuze : musique, philosophie et devenir." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20011/document.

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D’après Deleuze, écrire sur la musique constituerait un « sommet » de la pensée, l’idée d’une « supériorité » du musical sur les autres formes d’art étant, par là même, affirmée. La relation entre musique et philosophie n’est pas, dans sa pensée, de l’ordre du commentaire mais du devenir. Autrement dit, la musique n’est pas un simple objet d’analyse puisqu’elle influence en retour le style de conceptualisation du philosophe. C’est pourquoi ce problème s’articule selon deux perspectives qui s’échangent sans se concilier tout à fait : un devenir-musical de la philosophie, un devenirconceptuelde la musique. On pense par exemple au concept décisif de ritournelle qui désigne à la fois une « petite musique » etl’éternel retour.Le devenir-musical de la philosophie correspond à une dimension « artiste » de la pensée, le style d’écriture devenant un enjeu majeur. Deleuze partage avec les romanciers la création d’une langue étrangère dans la langue courante – création qui tend vers une « musicalisation » du langage. Si l’écrivain invente une « petite musique » par une mise en variation continue de la langue, le devenir musical de la philosophie implique une variation continue du concept, notamment parl’usage de la métaphore. Le texte philosophique refuse alors toute approche interprétative pour intensifer la part affective du texte. Un tel devenir n’est pas sans produire une forme d’ambiguïté puisqu’il finit par rendre indiscernable poésie et philosophie. Comment assumer la part musicale de la pensée deleuzienne dans le champ de la philosophie ? Le devenir-conceptuel de la musique correspond à un aspect plus traditionnel de la pensée deleuzienne puisque la musique y est soumise à l’appareillage ontologique du philosophe. En toute logique, l’idéal esthétique vers lequel tend tout agencement musical s’avère être la variation continue. Reprenant à son compte les dualités bergsoniennes, Deleuze assimile lemusical au domaine de l’intensif et du différentiel contre ce qui touche à la représentation. Sur la question fondalementaledu temps musical, Deleuze s’inspire de Wagner Proust, Bergson et Boulez pour développer une métaphysique de la musique autour de deux notions : le passé pur comme Mémoire cosmique et la réminiscence comme moyen esthétique d’y accéder. Du fait de la nature idéaliste de cette conception, Deleuze s’oppose à l’esthétique nietzschéenne pour renouer avec le romantisme
According to Gilles Deleuze, writing about music would be a summit of thought, the idea of superiority of the music is even asserted. Deleuze doesn’t think the relationship between music and philosophy as a comment but as a becoming. Music is not just a subject of analysis since in turn influences the style of conceptualization of the philosopher. The musical question thus revolves around two perspectives : a becoming-music of philosophy, a becoming-conceptual of music. For example,the concept of refrain refers to both a "little song" and the eternal return of Nietzsche.Becoming-music of philosophy is an artistic dimension of thought, so the writing style became a major issue. Deleuze shares with writers the creation of a foreign language in everyday language - which tends to create a « musicalisation » of words. As the writer invents a word music with a continuously variable setting of the language, the music of philosophy implies a continuous variation of the concept, including the use of metaphor. The philosophical text then refuses any interpretative approach to concentrate the affective part of the text. Such becoming is not without producing a form of ambiguity since it ultimately makes indistinguishable poetry and philosophy. How to take music fot the deleuzian concept in the field of philosophy?The same continuous variation is seen under high aesthetic ideal within the becomingconceptual of music. This second perspective corresponds to a more traditional aspect of Deleuze's thought since music is subjected to the ontological apparatus of the philosopher. Inspired by Wagner, Proust, Bergson and Boulez, Deleuze develops a metaphysic ofmusic based on two notions : the pure past and reminiscence. Because of such an idealistic conception of music aspect, Deleuze opposes Nietzsche's aesthetics to revive the romantism
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Uhlig, Ingo. "Poetologien des Ereignisses bei Gilles Deleuze." Würzburg Königshausen und Neumann, 2005. http://d-nb.info/987933922/04.

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Rutigliano, Francisca Tania Soares. "Gilles Deleuze : o drama da diferença." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278830.

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Orientador: Luiz Benedicto Lacerda Orlandi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed.
Mestrado
Mestre em Filosofia
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Cavalcanti, Adriane da Silva. "Filosofia e pintura em Gilles Deleuze." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281532.

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Orientador: Luiz Benedicto Lacerda Orlandi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho se pretende como uma investigação filosófica enfeixando questões conceituais a respeito de estética, arte e a potencialidade dos conceitos filosóficos ao abordarem este domínio, segundo a óptica do pensador francês Gilles Deleuze (1925-1995). O estudo centra-se no discurso desse autor acerca da arte pictórica, tomada como eixo para a compreensão de como se ergue o encontro entre a filosofia e a arte. Dois aspectos são delimitados para desenvolver a investigação: o primeiro indaga pelas relações entre a filosofia e a arte, explicitando as articulações entre conceitos filosóficos e elementos artísticos segundo um ponto de vista teórico. O segundo aspecto refere-se ao momento prático dessa articulação, presente na pintura. Esse segundo aspecto se desenvolve segundo a análise da operatoriedade de um conjunto de conceitos deleuzianos mobilizados ao apreciar a singular configuração estética da pintura de Francis Bacon em relação à aparição destes mesmos conceitos em outras obras do filósofo, visando com isso verificar as variações e apropriações às quais eles são submetidos e, conseqüentemente, dar a dimensão de como se constitui o discurso deleuziano acerca de uma arte
Abstract: This work intends to be a philosophical investigation assembling conceptual questions related to aesthetics, art, and the potentiality of philosophic concepts to concern this domain, according to Gilles Deleuze¿s point of view. Our study is based on that philosopher¿s discourse about pictorial art, as the axis to understand how proceeds the meet interface between philosophy and art. Two points are circumscribed to develop our investigation: the first asks for the relations hip between philosophy and art, making clear the articulations between philosophicae concepts and artistic elements according to a theoretical point of view. The second point is related to the practical moment of this articulation, as it occurs on painting. This second point evolves according to the analysis of the functionality of an ensemble of deleuzian concepts, mobilized during the appreciation of the singular aesthetic configuration of Francis Bacon¿s paintings, and how these concepts appear in other writings of that same philosopher, intending, to investigate the variations and appropriations to which they are conditioned, and, consequently, to explicit the dimension of the deleuzian discourse constitution about a fine art (painting)
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Gallina, Simone Freitas da Silva. "Invenção e aprendizagem em Gilles Deleuze." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252031.

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Orientador: Silvio Donizetti Oliveira Gallo
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente tese tem como proposta apresentar a contribuição de Gilles Deleuze sobre a aprendizagem abordada a partir da invenção de problemas e da criação de conceitos. Com isso pretendemos mostrar que a aprendizagem não se constitui meramente numa passagem ou transição natural e um estado de não saber para um estado de saber. Antes, a aprendizagem se dá num contexto de experimentação, em que o aprender equivale ao pensar e este somente surge por uma coação exercida pelos acontecimentos portadores de signos. Para essa tarefa foi preciso percorrer as linhas que constituíram e constituem o traçado do pensamento, as quais partem da interpretação de Deleuze da imagem tradicional do pensamento como recognição. Também foi preciso percorrer os deslocamentos da sua elaboração de uma imagem original do pensamento, a imagem de um traçado de linhas de forças no qual o passado, enquanto duração, sempre atual, emerge como futuro. Esse movimento que dá origem ao pensar e, portanto, ao aprender, tem como seus elementos os signos, os acontecimentos, a experiência enquanto elaboração de problemas e de invenção das suas soluções
Abstract: The present thesis has as proposal to present the contribution of Gilles Deleuze about the learning approached from the invention of problems and the creation of concepts. With this we intend to show that learning does not merely constitute a passage or natural transition from the state of knowledge. Before, learning occurs in the context of experimentation, in which learning equals thinking, and it only appears by coercion exercised by events carried with signs. For this task it was necessary to go through the lines that constituted and constitute the trace of thought, which part from Deleuze¿s interpretation of the traditional image of thought as recognition. It was also necessary to cover the displacements of its elaboration of an original image of thought, an image of a stroke of power lines in which the past, as duration, always current, emerges as future. This movement gives origin to thought, and therefore, as learning, has as its elements the signs, the happenings, the experience while elaboration of problems and the inventions of its solutions
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Filosofia e História da Educação
Doutor em Educação
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León, Alejandro. "Gilles Deleuze: el pensamiento como pasión." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/119548.

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El artículo aborda el estatuto del pensar según el filósofo francés Gilles Deleuze, buscando hallar una respuesta a la pregunta ¿qué significa pensar? La tesis central del artículo es que, según Deleuze, el ser humano no piensa cuando reconoce el mundo a través de sus representaciones. Por el contrario, el hombre alcanza a pensar solo cuando se enfrenta a una experiencia radical que no puede representar. Solo ahí, ante la absoluta necesidad, se activael pensador que habita en nosotros. Lo que nos conduciría a pensar no sería entonces una identidad representada, sino una diferencia experimentada.
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Michalet, Judith. "Vie et création chez Gilles Deleuze." Paris 1, 2009. http://www.theses.fr/2009PA010561.

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Le vitalisme de Gilles Deleuze est indissociablement ontologique, éthique et esthétique. Notre étude mettra en évidence le lien de ses recherches relatives à une intensification de l'existence et sa pensée de la création immanente des êtres vivants au sein de l'univers. Si la genèse des formes vivantes a été moins thématisée que la « vie inorganique» coextensive au plan d'immanence, elle a pourtant fait l'objet d'une conceptualisation rigoureuse dans ses écrits personnels. Il s'agira donc de considérer les aspects de sa pensée du vivant biologique, négligés jusqu'à présent, et de les resituer à leurs différents stades d'élaboration pour faire apparaître toute la fécondité de concepts qui esquissent une métaphysique de la vie. Les trois synthèses du temps dégagées dans Différence et répétition constitueront les trois fils directeurs de notre étude: l'apparition de l'organisme vivant, la formation de la mémoire du vivant et les potentialités créatrices des êtres vivants constitués.
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Books on the topic "Gilles Deleuze"

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Deleuze, Gilles. Gilles Deleuze. Paris: ADPF, 2003.

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Deleuze, Gilles. Gilles Deleuze. Paris: ADPF, 2003.

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Gilles Deleuze. London: Routledge, 2002.

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Guareschi, Massimiliano. Gilles Deleuze popfilosofo. Milano: Shake edizioni underground, 2001.

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Deleuze. Cambridge, UK: Polity, 2007.

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Jager, Christian. Gilles Deleuze: Eine Einführung. Munich, Germany: W. Fink, 1997.

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Bouaniche, Arnaud. Gilles Deleuze, une introduction. Paris: Pocket, 2007.

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Gilles Deleuze zur Einfuhrung. Hamburg: Junius, 2005.

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Stivale, Charles J. Gilles Deleuze: Key concepts. 2nd ed. Montreal: McGill-Queen's University Press, 2011.

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Gilles Deleuze: Key concepts. 2nd ed. Montreal: McGill-Queen's University Press, 2011.

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Book chapters on the topic "Gilles Deleuze"

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Buchanan, Ian. "Gilles Deleuze." In The Wiley-Blackwell Companion to Major Social Theorists, 175–92. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396621.ch26.

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de Freitas, Elizabeth. "Gilles Deleuze." In Alternative Theoretical Frameworks for Mathematics Education Research, 93–120. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33961-0_5.

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Semetsky, Inna. "Gilles Deleuze." In Re-Symbolization of the Self, 61–71. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-421-8_6.

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Kocyba, Hermann. "Deleuze, Gilles." In Metzler Philosophen Lexikon, 200–203. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-03642-1_73.

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Acosta, Emiliano. "Deleuze, Gilles." In Lexikon der Geisteswissenschaften, 1177–81. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205790099.1177.

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Lynch, Heather. "Gilles Deleuze." In The Routledge Handbook of Critical Pedagogies for Social Work, 271–82. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351002042-23.

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Widder, Nathan. "Gilles Deleuze." In Palgrave Advances in Continental Political Thought, 274–88. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230501676_19.

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Balke, Friedrich. "Gilles Deleuze." In Foucault-Handbuch, 219–22. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05717-4_35.

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Murphy, Timothy S. "Deleuze, Gilles." In Encyclopedia of Contemporary Literary Theory, edited by Irena Makaryk, 288–91. Toronto: University of Toronto Press, 1993. http://dx.doi.org/10.3138/9781442674417-082.

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Gunter, Peter. "Gilles Deleuze, Deleuze’s Bergson and Bergson Himself." In Deleuze, Whitehead, Bergson, 167–80. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280731_10.

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Conference papers on the topic "Gilles Deleuze"

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Cunha, Carlos Fernando Carrer da. "GILLES DELEUZE E O PENSAMENTO NÔMADE: A MÁQUINA DE GUERRA PRIMITIVA." In VIII Semana de Orientação Filosófica e Acadêmica. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/phipro-sofia-008.

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Feng, Tiancong. "THE INTANGIBLE STUDY OF PAINTING AND MUSIC BASED ON THE EXAMPLE OF THE AESTHETIC THEORY OF GILLES DELEUZE." In VI Международная научно-практическая конференция "Искусствознание и педагогика. Диалектика взаимосвязи и взаимодействия". Общество с ограниченной ответственностью «Книжный дом», 2018. http://dx.doi.org/10.25807/pbh.978-5-94777-431-3.92.100.

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Alrubaiy, Amir. "The Virtual, The Actual, and The Aspen Idea." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.72.

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This paper expresses a challenge to the problematic conceptual division between teaching and practice in architecture. This division generates a troublesome tension between the university and the profession as it maintains a condition of perpetual reconciliation between the two. This challenge is issued through an account of the Aspen Summer Design Program at the University of Colorado Denver College of Architecture and Planning, taught in conjunction with Harry Teague Architects, CCY Architects, and Studio B Architects in Colorado’s Roaring Fork Valley. Through a reading of the concept of the Virtual and the Actual as articulated primarily by Henri Bergson and Gilles Deleuze, and a connection of these concepts to ideas of situatedness and embodiment implicit in the Aspen Idea of Albert Schweitzer, the Summer Design Program demonstrates a manifestation of a more overlapping and simultaneous conception of teaching and practice.
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Ladeira, Anariá Reis Simões, and Igor Guatelli. "Pequenas ações de interdição e expulsão no território: [tecno] ideologias de metas políticas e sociais." In V JORNADA DISCENTE DO PROGRAMA DE PÓS-GRADUAÇÃO EM ARQUITETURA E URBANISMO - FAU MACKENZIE. Universidade Presbiteriana Mackenzie, 2021. http://dx.doi.org/10.5935/2238-5037.20210002.

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Territórios controlados por Estados estão sujeitos a estriamentos apriorísticos por meio de normatizações genéricas para poder assim ordená-los e facilitar eventuais interdições. Em contraponto, há a possibilidade de alisamentos destes mesmos espaços, tornando-os disponíveis a apropriações imprevistas. Estamos diante de uma dualidade entre dominação e espontaneidade, entre os aparelhos de captura e as máquinas de guerra, pares heterônimos de Gilles Deleuze e Félix Guattari. Juntamente a uma lógica urbana hostil, que evidencia o hóspede indesejável e marca os territórios com autoridade, opressão, regras e segregação – através de pequenas ações de inibição e coerção territorial por meio de leis, atos e arquiteturas hostis –, também há os espaços de hospitalidade, receptáculos abertos e lugares acolhedores que dão sempre lugar ao outro, ao qualquer outro – tal como a Khôra, segundo Jacques Derrida –, e que ressaltam o direito à vida e os enfrentamentos a esses estriamentos. Amparado por estes conceitos, evidenciam-se territorializações construídas pela antinomia entre a imposição de controle, a partir do poder e medo, e a chance de acolhimentos constituidores de insondáveis compartilhamentos.
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Rodríguez Cañestro, Sheila, and Javier Garcerá Ruiz. "Los límites del ver: una aproximación a la pintura contemporánea." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9271.

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La ponencia que presentamos plantea una reflexión sobre las posibilidades expresivas del lenguaje pictórico y sus consecuencias en el proceso del ver. Para abordar esta cuestión, analizaremos el trabajo de un grupo de artistas contemporáneos que, frente a la proliferación de la información visual de naturaleza exhibicionista que nos afecta día a día, utilizan una serie de estrategias formales basadas en una cierta negación de la imagen y obstaculización de la mirada. Hecho que suscita una reflexión necesaria en el contexto imagen [n] visible que la presente edición del congreso ANIAV propone. Para ello, nos serviremos de algunas reflexiones que el filósofo y teórico cultural coreano Byung-Chul Han está elaborando sobre el fenómeno de transparencia y exceso de visibilidad al que está expuesto el sujeto contemporáneo. Así también, aludiremos a otras reflexiones que autores como Walter Benjamin, Roland Barthes, Gilles Deleuze o Jean Baudrillard han planteado sobre dicho problema. Pretendemos así elaborar una aproximación al tema de la imagen [n] visible desde una perspectiva que reflexiona entorno a los límites entre visibilidad e invisibilidad. Como metodología, partiremos del proyecto expositivo titulado Ni decir de Javier Garcerá (coautor de este artículo) y de las propuestas de otros artistas contemporáneos como Qiu Shihua, Fu Xiaotong y Ohba Daisuke. A todos ellos los une su intención de estimular una apertura de la percepción que permita ver más allá de la representación pictórica, e incluso de cualquier imagen.
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Vuk, Amir. "SARAJEVO ĆE BITI, SVE DRUGO ĆE PROĆI." In Političko-pravni i zakonski položaj Grada Sarajeva u sistemu lokalne samouprave u Bosni i Hercegovini: mogućnosti reforme nadležnosti i teritorijalne organizacije. Academy of Sciences and Arts of Bosnia and Herzegovina, 2022. http://dx.doi.org/10.5644/pi2022.204.12.

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This is theoretical work for better understanding what Sarajevo is today. Since the focus is on contemporary society, our work begins with the concept of the rhizome, which Gilles Deleuze and Felix Guattari used as a metaphor to explain the nature of knowledge, information, and social relation. This concept applied information age defined in works Manuel Castells. The rise of the networking society, they application in actual life in town. In this work after highlighted some od phenomena of the world today analyzing urban layers in memories of the Sarajevo, from period when Sarajevo establishing, when ottoman empire era rule in Bosnia, Austro-Hungarian period, and rule in the both Jugoslav era and finely, and finely reflex on post-Dayton position like capital town in independent state BIH, and what that happen in space. One part of our analyzing is to discover what kind of the rule was dominate in history of the town. Very important focus in this work is to clear fined definition, what is Sarajevo today, and why this city, lost your competition like town and disappear in concept the Canton Sarajevo. We are try to find reason of that position the town in organization today, and try to give some suggestion, how to find some solution for better thinking about the city region. Today is divided town, and we have to try to find solution for charismatic position in the future of the town. It will be imagination, like tools which help to find light in the end.
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Petrović, Emina Kristina. "Two Conceptualisations of Change in Architectural History: Towards Driving Pro-sustainable Change in Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4006pqv8s.

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At the time when it is important to act on the Climate Emergency and other pro-sustainable efforts, the key question is how to drive change. This paper examines two conceptualisations of change in architectural history in an attempt to support a better understanding of architecture-specific conceptualisations of change itself. Such understanding could offer real value in articulating how to drive pro-sustainable change in architecture. The paper identifies two conceptualisations of change which are easily found in existing writing on change in architectural history. One such conceptualisation considers architectural developments in terms of cyclical styles, or triads of early, high, and decadent stages of development of styles. Attributed to the 18th century writing of Johann Joachim Winckelmann on ancient Greek art, this conceptualisation presents one useful interpretation which links the change with natural growth. A simpler conceptualisation of two-point change is interpreted using the minor/major interpretations of change, as developed by Joan Ockman, based on the work of Gilles Deleuze and Félix Guattari. The key proposition is that the selected historical examples of conceptualisation of change reveal useful aspects of the past patterns of change in architecture. These might help understand how to drive needed change now. One critical factor in the transition which is facing us now, is that in contrast to many past transitions which were driven by technological innovation, current transition requires development of technologies capable to support the change which is scientifically proven as needed and real. Therefore, some of the historical natural ease of the past transitions in the current contexts needs active driving of change. Without an intention to propose a holistic new framework, the main value of this paper is that it identifies some of the key conceptualisations which are evident in architectural history and that could be useful in driving pro-sustainable change.
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Molina García, Erika Natalia. "Déversement du regard fluide. Esquisse d'une méthodologie pour approcher théoriquement le cinéma." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3090.

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Dans son ouvrage de 2010 (« Les images de l’eau dans le cinéma français des années 20 », Presses Universitaires de Rennes), Eric Thouvenel interroge la profusion des images de la liquidité dans une période bien précise du cinéma français, mais tout en l’interprétant comme un symptôme du temps ; non seulement d’une époque trouble, postérieure à la Grande Guerre, mais du temps lui-même. En effet, au début du XXème siècle, le développement des technologies cinématographiques s’accompagne d’une redécouverte de l’ensemble de la réalité comme liquide, et ainsi d’une remise de la question du dynamisme, de la temporalité et du mouvement, au centre des thématisations dans tous les domaines. Cette redécouverte opère dans le champ du social, de l’art, de la philosophie (notamment grâce à la pensée bergsonienne), et aussi de la science (avec la mécanique des fluides). On traverse ainsi un seuil. On engage un changement de paradigme symbolique, tout comme si depuis le XXème siècle on avait quitté un modèle tellurien pour nous donner à l’immersion d’un modèle aquatique. Ceci justifie suffisamment la démarche de Thounevel, voulant analyser les images aquatiques dans la France des années 20, d’un regard lui-même fluide (p.16), mais ceci justifie aussi à nos yeux un décryptage et une systématisation du dit regard.Nous proposons ainsi de décomposer ce regard fluide, notamment dans l’œuvre de Thounevel et de Gilles Deleuze (dans « Cinéma 1, Image-mouvement » et « Cinéma 2, Image-temps », Éditions de Minuit), visant la plus grande simplicité schématique, et tenter de l’appliquer au cinéma de Philippe Garrel, comme cas d’étude. L’œuvre de Garrel, se prêtant tout particulièrement à une analyse liquide, nous accordera ainsi, la convenance d’un exemple contemporain et la délimitation nécessaire à cette construction d’un cadre méthodologique pour les approches théoriques du cinéma à venir.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3090
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BURMESTER, CRISTIANO FRANCO. "Fotografia - esencia y la hibridación." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5789.

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INTRODUCIÓN Este estudio investiga los cambios en el campo midiático de la fotografía en la función de intensas transformaciones resultantes de las innovaciones tecnológicas provocados por la digitalización de los medios de comunicación. La tecnología informática ha estimulado un intenso proceso de convergencia tecnológica, especialmente en el campo de los medios audiovisuales. Debido a este proceso, aparatos fotográficos de alta calidad son capaces de grabar imágenes en movimiento y fijas. Ahora, no sólo en la post-producción, sino también en la captura de imágenes, hay una conexión entre la fotografía y audiovisual. Así pues, la pregunta central de investigación que surge es: lo que estos cambios pueden significar y permitir, en términos de la renovación de las narrativas fotográficas en el campo de el lenguaje visual ? METODOLOGÍA Como base metodológica para la base teórica de esta investigación se utilizaron los trabajos de Gilles Deleuze, específicamente sus estudios sobre el tempo de la imagen, publicado principalmente en su libro La imagen Tiempo. El extenso trabajo de análisis de los medios de comunicación realizado por Raymond Bellour, sobre todo en las intersecciones, similitudes y diferencias entre la fotografía, el cine y el video. Este contenido ha sido tomado por sus dos libros: Entre-Imágenes y Entre Imágenes - 2. El extenso estudio de Edmond Couchot acerca de la presencia de la tecnología en el arte a través del libro del mismo nombre, fue importante para entender el proceso de hibridación que se producen en el ámbito del arte y la comunicación. La investigación de François Soulages en la Estética de la Fotografía presentó y demostró el rendimiento y intervenciones de motores de traducción semióticos en la imagen. RESULTADOS / DISCUSIÓN Como resultado de la investigación teórica y práctica fue posible profundizar en la comprensión del proceso de hibridación de medios audiovisuales, especialmente en las narrativas fotográficas, la comprensión de sus mecanismos operativos y transformaciones estéticas, el lenguaje, la tecnología y métodos de producción.http://dx.doi.org/10.4995/ANIAV.2017.5789
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dos Santos, Camila, and Andreia Machado Oliveir. "Zonas de Ação da Comunicação em Arte e Tecnologia - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.g142.

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Zonas de Ação Comunicativa em Arte e Tecnologia – ZACAT, é uma pesquisa de mestrado desenvolvida no âmbito do Programa de Pós-Graduação em Artes Visuais da Universidade Federal de Santa Maria (PPGART-UFSM), dentro da área de concentração de Arte Contemporânea e linha de pesquisa Arte e Tecnologia, sob a orientadora da Dra. Andrea Machado Oliveira. ZACAT é um conjunto de poéticas sonoras e visuais, que consiste numa investigação sobre práticas comunicacionais artísticas de caráter ativista. Em primeiro lugar, através de estratégias e propostas diversificadas para diferentes interlocutores vividos em 2019, em diferentes espaços da cidade de Santa Maria — ruas, museus, galerias de arte, universidade, escola, redes sociais, espaço das ondas de rádio. Posteriormente, devido ao cenário mundial apresentado desde 2020, com a pandemia de COVID-19, a poética passa por transformações significativas. Além das estratégias artísticas e comunicacionais passarem por mudanças de abordagem, o espaço Santa Maria desloca-se para o do Clube Naturista Colina do Sol (CNCS), localizado no município de Taquara, também no Rio Grande do Sul — não urbanizado e imerso no meio selvagem, com menos interferência da ação humana, o que proporciona outras formas de escuta e conexão, além da relação com o corpo, comunicação e tecnologia, como o uso de plataformas on-line de realidade virtual para compartilhar o trabalho realizado. Para abordar a construção desta pesquisa, são utilizados estudos sobre metodologia da pesquisadora e artista plástica Sandra Rey (1953). Como fundamentação teórica, faz-se referência à ideia de micropolítica, conceito que remete aos filósofos Michel Foucault (1926-1984) e Gilles Deleuze (1925-1995), e à crítica de arte Suely Rolnik (1948). As práticas artísticas ativistas baseiam-se nas experiências de coletivos brasileiros da década de 1990 até a atualidade, conforme visto na historiografia do Art Ativismo dos anos 1950, com filósofos autonomistas italianos como Giorgio Agamben (1942) e Franco Berardi (1949). Para apoiar a noção de Arte e Comunicação, partimos de autores como Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello e Giselle Beiguelman. O conceito de dispositivo surge da investigação teórica e é um mediador das práticas artísticas, tendo como referência Agamben, Foucault, Vilém Flusser (1920-1991) e Gilbert Simondon (1924-1989). Desde performances, passando por instalações, áudios, vídeos e experiências interativas presenciais ou via redes virtuais, esta pesquisa busca dar visibilidade à micropolítica cotidiana, com suas memórias, afetos, impulsos de vida formalizados ou efêmeros em momentos de encontro.
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