Este estudio examina la teoría de la imagen-tiempo de Gilles Deleuze tal como queda representada en Los adioses (2017), con el propósito de plantear la eterna recurrencia del pasado en la vida de la escritora mexicana Rosario Castellanos (1925-1974). Además, explora las diferentes técnicas de imagen-tiempo que utiliza Beristáin tales como la yuxtaposición entre las temporalidades del pasado, presente y futuro que conforman las respectivas memorias del pasado y que, al ser combinadas con las vivencias del presente, representan una culminación de experiencias que permiten una nueva perspectiva del pasado. Con cada nueva perspectiva se presenta una dinámica representación de emociones y sensaciones que causan un choque afectivo y por ende hacen manifiesto el constante cambio a la otredad de la escritora.

The following remarks are intended as philosophical comments on Gilles Deleuze’s groundbreaking reflections on a control society emerging at the end of the 20th century (cf. Deleuze 1992). Following Foucault, Deleuze’s interpretations of the ‘contemporary’ socio-technological transformations are mostly of a spatio-technical nature; the aim of this article is to complement his diagnosis with a time-philosophical analysis. Here, the guiding question is how to best characterize the time-political dimension of the new forms of social (“apprenticeships and permanent training”) and economic control, which has only further increased with the financialization of the 21st century (“Man is no longer man enclosed, but man in debt”) (1992: 6-7). Deleuze’s text already contains a number of clues that are relevant in this context, for example his references to the work of the dromonihilist Paul Virilio, specifically to the “ultrarapid forms of free-floating control” (1992: 4) that the latter outlined. Behind the acceleration paradigm sketched out by Virilio, however, we recognize an explanatory model of a different temporality, that is, both a different model of explanation and a different model of time. According to our working hypothesis, complex societies or societies that, under the influence of algorithms and computer-based infrastructures, are temporally complex can no longer be understood from the perspective of the present. The type of economy that Deleuze subsumed under the concept of ‘control society’ corresponds to a logic that is no longer centered on the present or the contemporary. Rather, under the digital technological conditions of the 21st century, control turns out to be time control and control of (as well as from) the future.

In his “Postscript on the Societies of Control”, which was written 30 years ago in 2020, Gilles Deleuze leaves us with the diagnosis that a profound transformation of society and capitalism has taken place: having left behind the disciplinary societies, which Foucault analysed (cf. Foucault 1975), after World War II, we are now living in societies of control that are inseparably connected to a new form of capitalism (cf. Deleuze 1992: 3-4, 6). This transformation of society has led to a “generalized crisis in relation to all the environments of enclosure” (Deleuze 1992: 3-4) which were being reshaped through various reforms, resulting in “the installation of the new forces” (1992: 4), that is, the “progressive and dispersed installation of a new system of domination” (1992: 7). Apparently, Deleuze’s clairvoyant idea of the society of control seems to have come true: we no longer need to imagine science fiction, since contemporary reality is already structured by digitised control mechanisms of multiple sorts and characters. Many of our social, economic, and political actions in both public and private everyday life are at least influenced or even caused by algorithms. Several of these algorithms may make our lives more convenient, especially in terms of the possibilities of the Internet, such as deterritorialised connection, access to information, and shared technological knowledge. However, in the “age of algorithm” (Sunstein 2017: 3), most areas of digitised reality based on ‘big data’, like social media, financial markets, smart technologies, or artificial intelligence systems are characterised by anonymity, non-transparency, and undemocratic structures which appear like asymmetrical mechanisms for controlling individuals. The function of algorithms enables all kinds of political and private organisations, like companies and governments, to evaluate patterns of individual behaviour and actions and to handle them as impersonal, general, and – in the Deleuzean idiom – dividualised facets of reality (cf. Baranzoni 2016: 45-46): a reality that is rather to be calculated in capitalistic terms than to be created and to be designed by human beings themselves (e.g. as political actors).

In speaking of the society of control, new qualities of current social conditions are usually addressed in a diffuse rather than precise manner. Quite often, e.g. within surveillance studies, it is associated with technologies modelled after the fiction of god-like omnipotence of visual surveillance (cf. Gehring 2017). The relevance of a power of cybernetics – according to Wiener, the science of systemic control – which resonates in the concept of control, refers to normally invisible operations of technical systems that permanently evaluate data streams according to discursively determined parameters and in connection with commercial interests (cf. Wiener 1948).

Gilles Deleuze’s “Postscript on Control Societies” functions as an index of epochal change. It opens with an invocation of the past, situating Foucault’s theory of disciplinary power in the nineteenth century, and has been read as theorization of the present, of the shifts in power in the late twentieth century. What, however, of its legacy? Or its future? It seems that now, close to thirty years after its publication, it is possible to ask two series of questions of this notion of control. First, where are we with control now?

The present diploma thesis "Claude Simon. Introduction and interpretation" is philosophical interpretation of the novels of the French writer Claude Simon, the Nobel prize winner for literature in 1985, whose work has been in the Czech academic field neglected theme. My interpretation is based on the philosophy of G. Deleuze and according to him I understand Simon's work like a rhizome, that is like decentralized heterogenous links, multiplicities and lines which are not subjects to any structural model. In my interpretation I start with novel Le Vent (The Wind) from 1957, because it's a text in which are being manifest fundamental themes of Simon's poetic such as are event nature of the fiction world or the lost of transcendence and its transformation into immanence of life affairs. The analysis of the novel Le Vent makes possible to pass continuosly and frequently to Simon's other novels (Histoire, Les Gèorgiques, Le Palace, L'Herbe, La Route des Flandres). The aim of the diploma thesis is to reach coherent interpretation of the Simon's work.

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Many of Gilles Deleuze’s most celebrated arguments are developed in conversation with Plato, Aristotle, Chrysippus and Epicurus. This thesis argues that ancient Stoic conceptions of causality and language and Epicurean contributions to geometry and physics are especially important to Deleuze because they significantly undergird the concepts of “event” and “problem” that characterize Deleuze’s alternative image of thought and philosophy of nature. The role of Hellenistic influences on Deleuze has been underappreciated, probably because his references are often allusive and oblique. My dissertation reconstructs and supplements Deleuze’s interpretations of these ancient Greek philosophers. I offer critical analysis and discussion of the uses to which Deleuze is trying to put them, as well as evaluations of Deleuze’s readings in light of contemporary scholarship on Greek philosophy. Specifically, I defend Deleuze’s claim that the theory of events in The Logic of Sense is derived in large part from the ancient Stoics. Despite being supplemented by a healthy dose of twentieth-century structuralism, Deleuze’s reading of the Stoics is not indefensible, especially his interpretation of incorporeal lekta as events linked by relationships of compatibility and incompatibility independent of conceptual entailment or physical causality. I also offer an entirely new evaluation of Deleuze's polemic with Aristotle’s conception of difference. The correct understanding of Deleuze’s position has been obscured by his apparent conflation of the Aristotelian concepts of homonymy and analogy. What might otherwise seem to be a misreading of Aristotle should be read as part of an incompletely realized argument to the effect that Aristotle’s account of the core-dependent homonymy of being fails. Finally I explicate Deleuze's contention that Epicurean atomism is a “problematic Idea,” which is derived from a careful but almost entirely implicit reading of both Epicurus and Lucretius. Deleuze reads the Epicurean “swerve” as a mechanism for the self-determination of physical systems, which models the capacity of problematic ideas to provoke new lines of reasoning and alternative forms of thought. The influence of Epicureanism and Stoicism on Deleuze’s late work on meta-philosophy in What is Philosophy? accounts for the way it treats the images of nature and of thought as inextricably linked. Deleuze understands the ambition to give a joint account of nature and thought to be typical of Hellenistic philosophy. / Thesis / Doctor of Philosophy (PhD)

This thesis investigates temporal dimensions of reenactment in experimental filmmaking, with a particular focus on the prominent use of this practice in the cinema of Portuguese director Pedro Costa. The research analyzes the non-professional actors’ performances in Costa’s films and broadly explores the implications of cinematic in-person reenactment, a term coined by Ivone Margulies. More specifically, the analysis sets out to challenge the predominant discourse of documentary reenactment by bringing closer attention to the intricate expression and materiality of cinematic temporality in these films, an approach that is also informed by Gilles Deleuze’s notion of the crystal-image. This concept, I argue, enriches our understanding of temporality in relation to reenactment, and ultimately also the impact Costa’s images have in providing us with a more attentive acknowledgment of the cinematic screen event. The aesthetics activated in these works exemplify what I call aesthetics of ambiguity. Contributing to the scholarly debate on reenactment within cinema studies, this work offers new perspectives on the phenomenon from the conceptual, aesthetic, and phenomenological examples of these films. The aesthetics of Costa exemplifies the temporal ambiguity that manifests itself in instances of in-person reenactments. I argue that this aesthetics challenge – and possibly also enrich - the predominant discourse of cinematic reenactment, by loosening its traditional connection to documentary filmmaking and examining it beyond categories of the real and the fictional.

The development of cinematography from the beginning has been accompanied by a consideration of temporal and spatial construction principles and the transition between individual cinematic units as fundamentals of film as an art form. The interplay between aesthetic form and theoretical observation has given rise to a complex understanding of the manifold stratifications and interactions between auditory and visual processes which are often penetrated by static and dynamic elements. Henri Bergson puts forward the model of a »flow of matter« that expands in all directions before it »breaks« on awareness. Elaborating on this model, we can understand the principle of the passage as an all-encompassing mechanism from which »momentary images«, »solidifications«, »objects«, or stable conditions might be derived only in a secondary step. Gilles Deleuze, in his two volumes on the cinema, has expanded these positions to a theory of »classic« and »modern film« based on a typology of »movement and temporal image«, the »sensomotoric« and »purely optical and acoustic symbol« along with considerations on the emancipation of the sound track. In the second part of this article, a passage concept derived from these theories provides the stimulus for an exemplary discussion of »temporal and spatial passages« in film. Claude Lanzmann’s nine-hour documentary Shoah is introduced as a cinematic conception that almost programmatically expounds the problems of the representability of events, closely connected with perception thresholds and temporal and spatial distances. In Lanzmann’s film, a number of variants of »temporal and spatial« passages are opened up from the present. Their performative power circumvents simple correlations between event and representation. With the help of short analyses it can be shown, how Lanzmann designs these »temporal and spatial passages«, how he thematizes and stages them as part of his cinematic act, how he displaces image and sound track and how he thus generates unique auditory scenarios. Conditions and adjustments are abrogated in favour of a permanent movement between highly fragile and unstable instances.