This paper examines how Gilles Deleuze critically transforms the theory of thought from representation to production, by way of finding thought’s genetic conditions, in his synthesis of time and ideal synthesis in Différence et répétition. I focus on Deleuze’s critique of subject, time, and identity, and on how he tries to establish a purely positive synthesis capable of producing the absolutely new. Lastly, I discuss Deleuze’s own image of thought that rises from his critique, as simulacrum.

My PhD thesis explores impacts of the specific moments of film within the context of its ontological potential. It follows forms of intervention into stability and continuity of visual re-presentation, which may induce intuition of the new. The opening chapters are devoted to the image "in itself", presented as duration of a "self-modulating" shot, whose apparent stillness initiates (with participation of sound) the pressure of off-screen field. The relationship of visible and sensible is considered from this point as initiation of impulses and changes immanent to film recording, as examined in subsequent arguments. Presented shots in these cases not only fulfill its narrative function by means of pictorial representation, but act concurrently as movement of elementary structures in time, as Gilles Deleuze points out. Based on references to his reflections, the following chapters expand on topics that analyze factors, partaking in possible initiation of intuition: effects of sequential processes of difference and repetition in film images, their rhythm, duration, elementarization, refraction and disappearance. Sudden occurences and persistence of these processes are demonstrated in film examples, where intuition departs medium and unfolds reality beyond film.

In this article, I seek to discuss the principles of modulation and variation in Deleuze’s canonical essay “Postscript on the Societies of Control” (Deleuze 1992). Analyzing and testing what Deleuze recognizes as “inseparable variations, forming a system of variable geometry” and as a “self-deforming cast that will continuously change from one moment to the other […], like a sieve whose mesh will transmute from point to point” (1992: 4), I will focus on the digital image

In his short paper “Postscript on Control Societies” (Deleuze 1995: 177-82), Gilles Deleuze offered one of the most searing diagnoses of contemporary society critical theory has produced. Three decades later, this essay remains remarkable for its prescience, especially when one considers that the World Wide Web was not in existence at the time that Deleuze wrote his essay, let alone smart phones and social media. Now that we’re beginning to understand the impact of global corporations such as Facebook and Alphabet (Google’s parent company), it could be argued that the essay speaks to today’s technological reality even more incisively than it did thirty years ago. Deleuze identified some of the key principles and logics at work.

Gegen die Unumgänglichkeit des philosophiehistorischen Wissens sich zu stellen, haben verschiedene Denker unternommen, andere wollen die Umgangsformen der Philosophiegeschichte reformieren und neue Modelle des (historischen) Umgangs einführen. Gilles Deleuze nun scheint beides zu versuchen, indem er dem philosophiehistorischen Wissen als Philosoph jede Evidenz bestreitet und es zugleich als Philosophiehistoriker in einer neuen Umgangsweise aufhebt. Seine Philosophie ist offenbar verträglich mit einer Rede über andere Philosophien, ja scheint sie sogar zu fördern, wenn man so die Tatsache interpretieren will, daß Ddeuze eine ganze Reihe von Büchern zu einzelnen Denkern veröffentlicht hat. Wie diese Beziehung von Philosophie und Philosophiegeschichte bei ihm aussieht, ist bisher nicht untersucht. Zum paradoxen Unterfangen von Gilles Deleuze, Philosophiegeschichte zu treiben und sie zugleich zu unterlaufen, die folgenden Überlegungen, deren vorläufiger Charakter daran zu erkennen ist, daß sie sich an verstreuten expliziten Äußerungen orientieren.

[pt] A Geofilosofia é uma ontologia ecológica apropriada para problematizar a catástrofe climática que vivemos, o Antropoceno. O conceito desenvolvido por Deleuze e Guattari se relaciona com o nosso tempo – o Antropoceno – como modo de ecologizar o pensamento. Um materialismo anti-humanista em oposição à Era do Antropos e o humanismo da Modernidade. Nesta tese, tratamos de uma virada ecológica da filosofia, que emergiu enquanto o capitalismo industrial e posterior, o neoliberalismo e o colonialismo (que se apropriava de matéria e energia baratas) tomavam o planeta de assalto. Por fim, contrapomos a um estilo de vida que imagina um mundo inerte e homogêneo à disposição para consumo, modos de vida synpathicos, operações simbióticas da vida real. Em especial, as Terras Pretas de Índio na Amazônia, experiência de compartilhamento ecológico autóctone. / [en] Geophilosophy is an ecological ontology appropriated to problematize the climatic catastrophe that we live through, the Anthropocene. The concept developed by Deleuze and Guattari relates to our time – the Anthropocene – as a way to ecologize thinking. An anti-humanism materialism in opposition to the Anthropos Era and the humanism of Modernity. In this thesis, we deal with an ecological turn of philosophy that emerged while industrial capitalism – and beyond, neoliberalism and colonization (which appropriated cheap matter and energy) took the planet by storm. Finally, we oppose to a life style that imagines a homogenous and inert world available for consumption, syn-pathetics ways of life, symbiotics real life operations. In particular, the Terras Pretas de Índio (Indigenous Dark Earth) in the Amazon, autochthonous ecological sharing experience.

In this essay I examine scenography as a verb, to scenograph, and what it means to consider scenography as a process of development rather than an artifact placed on stage. Based on Deleuze and Guattari's ideas about rhizomatic structures and becomings, carnal aesthetics and phenomenology, I weave together tactile knowledge, the agency of the materials themselves and collective processes in a text about finding the inherent is of a scenography. / I den här essän undersöker jag scenografi som ett verb, att scenografa, och vad det innebär att betrakta scenografi som en process istället för en artefakt placerad på scen. Utifrån Deleuze och Guattaris idéer om rhizomatiska strukturer och blivande, carnal aesthetics och fenomenologi väver jag samman taktil kunskap, materials egen agens och kollektiva processer i en text om att hitta scenografins inneboende själv.

[pt] Com vistas a tecer uma crítica ao conceito de reconciliação, entendido dentro do campo do conhecimento da justiça de transição, essa dissertação observa o contexto pós-ditadura brasileiro, com destaque aos instrumentos relacionados. Nota que existe uma ligação em discursos e práticas, na teoria e nos casos concretos, entre a reconciliação e a identidade nacional. Percebe que nessa relação existe um problema: ao passo que etimologicamente diferentes, quando análogas produzem esquecimento, apaziguamento, pacificação, podendo gerar o que objetivamente no começo não se queria: o retorno de regimes autoritários. Para analisar o panorama brasileiro e as definições dos três termos em destaque – justiça de transição, reconciliação e identidade nacional -, faz uso da filosofia política de Gilles Deleuze. Como meio de criação de uma nova ontologia, traz discussões acerca da lei e das instituições, um novo modo de análise da micropolítica e como agem os enunciados coletivos e palavras de ordem. Ao examinar o significado de mecanismos e discursos na transição brasileira – investigando a produção da Lei de Anistia, os passos para e da Constituinte, a CEMDP, a Comissão de Anistia, os processos judiciais e a CNV -, estabelece o caminho e conteúdo das linhas de segmentaridade dura, flexível e de fuga, bem como as capturas do Estado em razão da axiomática capitalista. Esse estudo explicita que não ocorreu uma reconciliação política no país, que a justiça de transição se encontra inacabada, que a identidade nacional é um discurso para omitir violências e que silenciar o passado não basta para sua não repetição. / [en] With the aim to criticize the concept of reconciliation, understood within the field of knowledge of transitional justice, this thesis observes the post-dictatorship context in Brazil, with emphasis on the related instruments. It notes that there is a link in speeches and practices, in theory and in concrete cases, between reconciliation and national identity. It realizes that there is a problem in this relationship: while etymologically different, when made analogues they produce oblivion, appeasement, pacification, and can generate what objectively in the beginning was not wanted: the return of authoritarian regimes. To analyze the Brazilian panorama and the definitions of the three highlighted terms - transitional justice, reconciliation and national identity -, is used Gilles Deleuze s political philosophy. As a way of creating a new ontology, it brings discussions about law and institutions, a new way of analyzing micropolitics and how collective enunciation and order words act. When examining the meaning of mechanisms and discourses in the Brazilian transition - investigating the production of the Amnesty Law, the steps to and of the Constituent Assembly, the CEMDP, the Amnesty Commission, the lawsuits and the CNV -, it sets up the form and content of the lines of hard segmentation, flexible and of flight, as well as the State s captures due to the capitalist axiomatic. This study explains that there was no political reconciliation in the country, that transitional justice is unfinished, that national identity is a discourse to omit violence and that silencing the past is not enough for its non-repetition.

Master of Arts / Department of Communications / Timothy R. Steffensmeier / This thesis examines the production of identity within post web 2.0 virtual communities. Second Life, the community which this study focuses on, is a growing home of educational institutions. To better understand the process of constructing identity and community in the hyper-mediated future, this thesis grapples with the complicated process of creating oneself through analyzing the avatar as self and the home as community. Identity appears to continue to be both a liberating and constraining force, and creating oneself is not as simple as buying a new skin. Through a self-reflexive post-colonial virtual ethnographic exploration of the thesis writers experiences in the virtual world, light will be shed on the ways that identity is being shaped in relation to race and gender.

Notre contribution présente les éléments caractéristiques de l’interprétation deleuzienne de la métaphysique de Baruch Spinoza effectuée dans Spinoza et le problème de l'expression et montre quels prolongements elle trouve dans les travaux suivants de Gilles Deleuze que sont Différence et répétition et Logique du sens. Pour bien comprendre le contexte et la particularité de l’interprétation deleuzienne du spinozisme, nous nous intéressons dans un premier temps à l'interprétation qu'en a offerte Martial Gueroult à la même époque dans Spinoza. I, Dieu (Éthique I). Nous accordons alors une attention particulière à sa lecture des premières propositions de l'Éthique et ainsi à sa thèse de l'existence d'une infinité de substances-attribut réellement distinctes et constitutives d'une Substance absolument infinie, c'est-à-dire Dieu ou l'ens realissimum. Nous nous attardons ensuite à la lecture expressionniste de Deleuze qui aborde directement le problème de l’unité de la substance et de la diversité des attributs en posant la question du type de distinction qui s'applique à l'absolu, question qui est au centre de la problématique de la relation de l'un et du multiple. Pour Deleuze, c'est l'univocité des attributs qui permet d’expliquer l’unité de la diversité des attributs dans la Substance de telle sorte que pour ce dernier, comme pour Gueroult, Dieu est unité d'un divers. Finalement, nous considérons que Deleuze s’approprie le maillage conceptuel qu’il dégage de l’expressionnisme de Spinoza et qu'il s’engage dans un travail de perfectionnement de celui-ci qui constitue selon nous une quête de l’univocité qui le mène au fondement d’une véritable ontologie univoque. Cette réappropriation qui passe par un aplanissement du spinozisme implique des déplacements que nous proposons d’aborder à partir de trois éléments clefs de sa lecture de Spinoza, soit sa conceptualisation de l'essence de mode comme degré intrinsèque d’intensité, l’assimilation de la distinction réelle à une distinction formelle et, dans un cadre plus général, la conception génétique de Dieu présentée dans les premières propositions de l’Éthique. Dans chacun des cas, nous relions la lecture deleuzienne et les prolongements qu'elle trouve dans ses travaux avec l’interprétation que propose Gueroult dans le premier volume qu’il dédie à Spinoza. En définitive, c'est principalement deux aspects de la métaphysique deleuzienne qui sont traités, soit la multiplicité substantive et la synthèse disjonctive, en montrant comment la logique de la distinction, l’univocité de l’être ainsi que l’immanence de l’un et du multiple sont intimement interreliées par l’expressionnisme qui permet conséquemment d'aboutir à la fameuse formule pluralisme = monisme.