Scenari

Introduzione

2024-11-04T08:45:07+00:00

Evitare il significante. Gilles Deleuze e il linguaggio dei segni

2024-11-04T09:12:12+00:00

The essay explores the conception of language in the works of Gilles Deleuze, with particular attention to his rejection of structuralist semiotics and his emphasis on the concept of expression. Through the works of Spinoza, Hjelmslev, and Proust, Deleuze develops a theory of language as an immanent and productive system of signs, opposing the reduction of meaning to linguistic signification. In his later work with Félix Guattari, Deleuze deepens this vision, criticizing structuralist semiology and promoting an immanent semiotics that considers language as matter in continuous differentiation. It is in his works on cinema that he further elaborates, also drawing on the proposals of Pasolini, the idea of language as immanent to matter.

Un sublime minore. Nel segno di "Marcel Proust e i segni"

2024-11-04T09:12:38+00:00

The paper aims to trace a common thread within the various Deleuzian readings of Kant and Deleuze’s original proposal regarding the transcendental genesis of thought, with particular reference to the concept of the sublime, the problematic nature of such readings and the process of variation that Deleuze imprints on them. In addition to the Deleuzian essays on Kant, the heart of the text is Marcel Proust and the Signs, presented here both as a conceptual counterpoint to The Critical Philosophy of Kant, and as a strategic text with respect to Deleuze’s entire philosophical work. In this confrontation between the interpretative analyses of temporality and the sublime in Kant and the aesthetic and theoretical proposal generated from Marcel Proust and the Signs, the problematic nature of the concept of the sublime emerges, which is dealt with by having recourse to a heterogeneous set of texts from the secondary bibliography, of which an attempt is made to recognize a functional track that is closer to the conceptual transformation work carried out by Deleuze in relation to Kant. This recognition leads thus to present the hypothesis that a sort of “minor sublime” takes shape in Deleuze, as the result not of a radicalisation of the Kantian transcendental and the Analytics of the Sublime, but rather of a more heterodox and heterogenetic operation, which in the text is conceived as “machinic” and subtractive, where only the subtraction of the unity of the soul and the logical use of the faculties allows us to think of the genesis of experience in the terms proposed by Deleuzian elaboration.

L’expérimentation et la lutte. Le cours Sur la peinture de Deleuze

2024-11-04T09:13:03+00:00

This paper aims to propose some insights starting from the text of the lectures On painting given by Deleuze in the spring of 1981. The recent publication of these lectures allows to observe some issues that closely concern Deleuze’s thought, especially regarding his concepts of ‘creation’ and ‘resistance’. The paper intends to show the way in which, through a reflection on painting, Deleuze develops a method of reading and problematising that inextricably unites the theme of struggle with the theme of experimentation. This intertwining could be seen as one of the theoretical nucleuses that gives birth to the connection between creation and resistance, both in art and philosophy, which will be more profoundly explored in his later philosophical production.

Hallucinations of an Interior

2024-11-04T09:13:31+00:00

The work of Deleuze and Guattari is often presented in terms of spatial ontology as it explores relationality between fragments that constitute the real. As such, it is readily accepted as a theoretical framework for architects and geographers who use this approach to develop their consecutive fields. Similarly to these disciplines, the work of the duo is permeated with imagery that help in representing concepts they are exploring in a soft and non-abrasive way. While recognising the capacity of imagery in representing spatial concepts they curiously avoid architectural drawings but venture into a different kind of illustrations always describing them or presenting their own way of producing adequate diagrams. In one instance, the imagery that they described in a crucial moment of focussing on a key concept for the pair showcases a metaphysical reading of the world – one that likely stands at the border between the virtual and the actual. These are the renderings of Robert Gie. A reading of the comparison between his renderings and the architectural drawing convention which is lacking in the texts of Deleuze and Guattari, can help reconcile the concepts in the texts which discuss desire and problematic ideas of interiority.

L’immagine, la copia e il simulacro: Deleuze e Platone

2024-11-04T09:13:57+00:00

This essay explores the evolution of Gilles Deleuze’s thought by comparing his works “Difference and Repetition” and “What is Philosophy?”. Initially, Deleuze advocates for a philosophy grounded in difference and repetition, moving away from Platonic transcendence towards a more immanent and differentiated view of thought. However, over three decades, a significant shift in his philosophical approach is observed. In “What is Philosophy?”, co-authored with Félix Guattari, the concept of “image” takes on a dual identity as both plane and construction, indicating a reevaluation of philosophy that cannot completely shed its pre-philosophical images. This paper argues that Deleuze, extending his investigation into immanence, no longer seeks a mere reversal of Platonism but a continual re-creation of thought that transcends traditional dichotomies, urging every philosopher to perpetually redefine the foundational concepts of philosophy.

Il rizoma e il cristallo. Deleuze da Mille piani a Immagine-tempo, e ritorno

2024-11-04T09:14:24+00:00

The article aims to make explicit the link between Deleuze’s two books on cinema and the immediately preceding volume, A Thousand Plateaus (1980), the second volume after Anti-Edipus (1972) of the project written four-handedly with Guattari, with the overall title Capitalism and Schizophrenia. The connection between the figure of the rhizome, a term borrowed from botany and reinvented by the two authors to describe the movement of being in a theory of immanence, and that of the crystal, i.e. the point of indiscernibility between matter and memory in books on cinema, will be particularly highlighted. The task the two figures share is to propose a philosophy of immanence, anti-substantialist and anti-humanist.

Tratti e deserti. Deleuze e l’immagine-affezione

2024-11-04T09:14:48+00:00

The purpose of this article is to contextualize the notion of affection-image, as presented in Cinema 1: The Movement-Image, within Deleuze’s thinking system. In the first place, we will try to show how the two elements that make up affection-image, face anérimentale de ses techniques et de ses prod any-spaces-whatsoevers, refer respectively to «faciality» traits (traits de visagéité) and landscape traits (traits de paysage) – which is spoken about both in Proust and Signs and in A Thousand Plateaus. Secondly, it will be shown how both these elements relate to the fundamental notion of event, as described in The Logic of Sense.

Figure. Image and democratic perversion in Deleuze’s thought

2024-11-04T09:15:15+00:00

plex account of the concept of Figure in Francis Bacon: Logique de la Sensation and in Cinéma 1: L’image-mouvement. In the first part, I show that Deleuze’s theoretical work on the Figure implies an extensive discussion of the Greek vocabulary of the image. The Figure, he argues, is “an Image, an Icon”, that is, not an εἴδωλον but an εἰκών, not the reproduction of an ideal visuality but the rendering visible of forces that are not themselves visible, not a matter of producing a lifeless body, a corpse, as in Plato’s account of the image, but of a body without organs, which serves as a model for a different death, an impersonal death inscribed in the time of Αἰών, in implicating the possibility of having been repeated and of being repeated to infinity, all in liberating intensive differences on each occasion. In the second part, I argue that this internalization of death in and as Figure, involving an ever-returning event of transformation, entails a complete rethinking of mimesis, that is, no longer the production of resemblance, the transcendental imposition of form and stability, but the doubling of transformation, of aionic time itself. Deleuze calls this mimetic commitment to transformation “perversion”. I conclude by focusing on the political implications of this perversion, arguing that it informs Deleuze’s account of democracy as becoming-democratic, taking on an idea already at work in Aristotle’s Politics.

Prima della piega. La sensibilità delle immagini tra Bergson e Whitehead

2024-11-04T09:15:38+00:00

The article aims to investigate the Deleuzian concepts of image and affect as precursors to the concept of the fold and the problem of individuation, through a comparison with two authors who inspired them. In the case of the image, Bergson; in the case of affect, Whitehead. Although image and affect have been primarily received in an aesthetic sense, their ontological consideration, in relation to the proposals of Bergson and Whitehead, shows their important role in rethinking the problem of subjectivation. This is because image and affect outline a new relationship between subject and experience, overcoming the subject-object dualism and placing expressivity (in the case of the image) and feeling (in the case of affect) at the centre of individuation. Considering image and affect as precursors to the fold also helps to think beyond the criteria of unity and totality, the problem of perspectivism, and the immediate relationship between fold and ethics – also through the role of the negative.

Immagine dogmatica e immagine teatrale del pensiero

2024-11-04T09:16:05+00:00

The present contribution aims to emphasize the subversive and positive centrality of the image in the initial deleuzian thought and to emphasize its aesthetic attributes, particularly regarding the theatre and the concept of dramatization. To achieve this, the work begins by examining the implications of the dogmatic representation of thought. The image is surrounded by negativity, which leads Deleuze to search for a thought that is free of it, but it fails to explain the proposal for a new image of thought. This oscillation will be resolved in the last part of the article by focusing on the importance of that image without similarity which is the simulacrum whose aesthetic value is central both in relation to transcendental empiricism, and in leading to an exercise of thought explained by Deleuze through the art of theatre.