Gilles Deleuze e os Traços do Infinito

• Autor(a) principal: Amaral, Leonardo Francisco
• Data de Publicação: 2022
• Outros Autores: [e-mail]
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/19956
• topic: Crystal; Time; Bergson; Spinoza; Abstract machine; Deleuze; Infinito; Tempo; Bergson; Espinosa; Arte; CIENCIAS HUMANAS::FILOSOFIA

Above all, bodies should never be taken as mere organisms. Even though the future of the latter may certainly give rise to some speculation, they bring nothing relevant to the creative processes. While the becoming of the bodies constitutes an inexhaustible source of novelties. We can even state that, for both vital and artistic reasons, organisms pose a form of threat to the bodies, in the same way that clichés do for images. In such a way that, while bodies are entirely subject to organic requirements, and images are linked to a merely sensorimotor scheme, thoughts cannot go beyond the reproduction of opinions that respond to the formal functions of the established, only following previously delimited paths. However, when bodies slide beyond the organization scheme, and images escape all meaning and recognition, thoughts are also thrown into the unknown, embracing the “movements of infinity”. In the light of Nietzsche, Spinoza, and Bergson, Gilles Deleuze gives Thinking a new constellation: concepts (concepts) become inseparable from “visions” (Percepts), as well as from “becomings” or “forces” (Affects). Alongside art, and under its effects, thinking becomes a constructivism, and sensations definitively invade the plane of immanence, that is, the terrain of Philosophy itself.