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De la imagen-transparente a la imagen-opaca. Hacia una taxonomía de la imagen fotográfica a partir de la filosofía de Gilles Deleuze
(Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2016-12-01) León, Alejandro
Deleuze’s work is certainly heterogeneous. Throughout his life he managedto deal with an amazing variety of subjects: history of philosophy, psychoanalysis, politics, literature, painting, cinema, among others. However, the author of A Thousand Plateaus did not address a particularly relevant area for the twentieth century configuration –photography. This absence is unsettling not only because of the cultural importance of photography, but also because his reflections concerning the concept of image are a recurrent theme throughout his work. This research will not seek to determine the reasons why Deleuze did not explore the field of photography, because we believe that a question like this is, to say the least, idle. On the contrary, we will try to prolong his reflections in order to unfold the intuitions found in his philosophy that may help us to address the issue of the photographic. In this sense, our objective will be to develop a taxonomy of the photographic image from the distinction of two main types: the transparent image and the opaque image.
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Gramáticas espectrales. Entre Wittgenstein, Deleuze y Derrida
(Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2016-12-01) Krebs, Victor J.
“Wittgenstein’s Ghosts. Between Deleuze and Derrida”. Both Derrida and Deleuze agree that with the advent of the moving image and the art of film, we need to articulate a new ontology or –in Wittgenstein’s terms–, a new grammar. Derrida suggests this much when he reflects on what he calls the return of ghosts, which he attributes to the advent of film and the communications media; Deleuze does the same in his studies of film, and in particular in what he calls the time-image. They both carve a grammatical space where room is opened for us to talk about an experience that fuses, paradoxically, problematically, the real and the virtual. Wittgenstein is tracing this grammar in his discussions on inner experience and in his observations about the phenomenon of aspect-seeing. Articulating a new grammar requires also a new way of seeing and this new seeing is the purpose of his methods; “clairvoyant” methods we can call them, following Deleuze’s term for what the time image propitiates in the viewer, in that they allow us to see beyond things to their aspects, beyond substances to processes; in other words, they train us to think in moving time. Philosophy is thus always a work of mourning and a commerce with ghosts. What this means is that Wittgenstein is –as Derrida and Deleuze are too–, what we might call a philosopher of becoming.

Estudios de Filosofía. Núm. 14 (2016)

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