Este artículo se propone estudiar la noción de expresión en los dos libros que Deleuze publica en 1968: _Spinoza y el problema de la expresión _y _Diferencia y repetición. _Se trazarán las correspondencias entre las formas de expresión en el primero y los planos ontológicos del segundo, para luego considerar en qué consiste el _renversement _ del spinozismo que Deleuze propone. Se mostrará que este no consiste en invertir el rol del fundamento entre lo Uno y lo múltiple, sino en (...) liberar las formas de expresión del cuádruple cepo de la razón suficiente, y darle a cada una su lógica y potencia propias. (shrink)

This paper is concerned with an aspect of Deleuze and Guattari's thought which has not been duly analyzed: systematicity. More specifically, it deals with their conception of the system in three co-authored major works: What is Philosophy?, Anti-Oedipus and A Thousand Plateaus. These works are of renewed interest because they tease out, each in its own way, a particular type of system. Regardless of whether it has a philosophical import, a botanical reference, a social dimension, or a libidinal investment, the (...) system that Deleuze and Guattari advocate is allegedly a hyper-dynamic system that resists closure. Thus, in an interview with Didier Eribon, Deleuze points out that philosophy is 'an open system' and then, referring to A Thousand Plateaus, he further observes that what he and Guattari 'call a rhizome is also one example of an open system'. The purpose of this essay is not merely to explore how the system in the works of these two prominent poststructuralists is conceived, how it is structured, and how it works, but also to show how it is only superficially open. Paying a special attention to Deleuze and Guattari's exegesis on capitalism, I argue that the proposed system is cynical and ultimately untenable. Key Words: capitalism • Gilles Deleuze • Félix Guattari • open system • philosophy • total system. (shrink)

O artigo procura mostrar alguns elementos da análise deleuziana da pintura de Francis Bacon, concentrando-se nos aspectos que permitem considerar tal pintura como visceralmente anti-representativa. A pintura de Bacon figura sensações, promovendo, ao mesmo tempo, a experimentação e novas corporeidades por meio dessa produção figural. Pensando as relações entre os corpos e as forças que atuam sobre eles, provocando as ondas sensoriais, Deleuze concebe a pintura em geral, e a de Bacon em particular, como paradoxal experiência histérica do pensamento, experiência (...) em que corpo e pensamento encontram-se maximamente articulados. (shrink)

Gilles Deleuze and Raymond Ruyer have been sui generis morphologists. Their peculiar contributions to philosophical morphology can cast light on some problematic issues concerning the relationship between “form” and “formation”. In this respect, the musical concepts of «rhythm» and «melody» would play an important role insofar as to address respectively the problem of temporality of the living form and the problem of its events-based normativity. In the first paragraph, I address some morphological positions in Deleuze’s philosophy of creation, in relation (...) to his perspective on time and genesis. In the second paragraph I deal with Ruyer’s symmetrical view, which can provide further clarifications on the idea of biological constraints’ modification. The concepts of rhythmic pulsation and melodic orientation are shown to be two crucial coordinates in order to approach the intrinsic features of the living. (shrink)

resumo: O texto visa valorizar aspectos promissores do encontro filosófico entre Gilles Deleuze e Gilbert Simondon em torno da recriação do problema da individuação e da ênfase na problemática das disparações intensivas. abstract: The text aims to enrich promising aspects of the philosophical encounter between Gilles Deleuze and Gilbert Simondon around the recreation of the individuation problem and the emphasis in the intensive disparitions problematic.