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1
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Między "czas się wywichnął" a "czas wypadł z ram". Wprowadzenie do recepcji myśli Gillesa Deleuze'a w polu kultury audiowizualnej

100%
Świętochowska G.
Panoptikum
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2014
|
issue 13(20)
6-14
EN
This arcticle is an attempt to report the reception of the audiovisual part of Deleuzian thinking.
2
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Krystaliczne kino Gilles Deleuze'a: system otwarty

80%
Jakubowska M.
Panoptikum
|
2014
|
issue 13(20)
54-69
EN
The paper's aim is to introduce Gilles Deleuze's Cinema as a theoretical and philosophical open system of thinking about classical, modern and postmodern movies.
3
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Kultura audiowizualna i jej podmiot: kontrolowany technicznie schizofrenik

80%
Ilnicki R.
Panoptikum
|
2014
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issue 13(20)
104-117
EN
Audiovisual culture annihilates boundaries between dualisms such as nature/culture and human/machine. In that process desire is also released and it can operate acrosss many regimes not being bound by dualisms.
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Assemblage Theory and Schizoanalysis

80%
Buchanan I.
Panoptikum
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2014
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issue 13(20)
126-134
PL
Autor artykułu proponuje rozważenie koncepcji asamblażu autorstwa Deleuze'a i Guatarriego w izolacji od licznych wcześniejszych przykładów przywłaszczania, które zdaniem autora jedynie podszywały się pod nią, w zamian skutkując interesującym, ale w jakimś przynajmniej stopniu umniejszającym lub też redukującym użyciem.
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Kino jako machina wyobraźni - teoria kina Gillesa Deleuze'a w kontekście teorii wyobraźni Immanuela Kanta

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Wejman K.
Panoptikum
|
2014
|
issue 13(20)
136-149
EN
The aim of this paper is to show that the film theory of Gilles Deleuze could be thought of as a new theory of imagination.
6
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"Nieustanne błąkanie się w tę i z powrotem". Aktualizacja kategorii modernizmu w relacji do kina czeskiego

80%
Świętochowska G.
Panoptikum
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2014
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issue 13(20)
70-88
EN
"Diamonds of the Night" dir. Jan Nemec is commonly classified as modernist in Czech literature on the subject and in comprehensive publications trying to determine aesthetic, historical and temporal specificity of this artstic movement.
7
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What constitutes a cinematic event?

80%
Brown W.
Panoptikum
|
2014
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issue 13(20)
118-125
PL
Autor stawia pytanie o status wydarzenia filmowego, odwołując się do różnych koncepcji pojęcia wydarzenia wyprowadzonych z dyskusji Alaina Badiou z myślą Deleuze'a.
8

Thinking Like a Carpet: Embodied Perception and Individuation in Algorithmic Media

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Marks L. U.
Acta Universitatis Sapientiae, Film and Media Studies
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2013
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vol. 7
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issue 1
7-20
EN
Keynote talk given at the “Cinema of Sensations” International Conference organized by the Sapientia Hungarian University of Transylvania, in Cluj-Napoca, Romania, between the 25th and 27th of May, 2012. (The photos of Laura Marks illustrating the article were taken by Dorel Găină, and are reproduced here with the permission of the artist.)
9

(Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1

80%
Simon E.
Acta Universitatis Sapientiae, Film and Media Studies
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2013
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vol. 6
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issue 1
35-48
EN
Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the spectator with the limits of visual experience of the world and the multiple possibilities of their transgression. Critically addressing one of his short films, Visions in Meditation n°l (1989),1 this analysis aims to discuss the way movement may become a principle of perception, that is to say, according to Gilles Deleuze’s definition - a mode of transgressing the frame of representation. Reappropriating the cinematographic grammar and submitting it to a vibrating movement, Brakhage invents a rhythm which paves the way for a transcendental experience, meanwhile proposing a reflection on the meditative possibilities of the film in terms of the image in meditation. Gilles Deleuze’s way of thinking of cinema in Cinema 1: Movement-image, as well as Slavoj Žižek’s writings on cinema, allows one to consider movement in its cinematographic and philosophical meaning, a project which in Brakhage’s case seems to be primordial
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Przebłysk jutra: przyszłość jest teraz

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Pisters P., Szczubiałka M.
Panoptikum
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2014
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issue 13(20)
16-31
11
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Koncepcja maszynizmu Gillesa Deleuze’a

71%
Mackiewicz W.
Rozprawy Naukowe Akademii Wychowania Fizycznego we Wrocławiu
|
2015
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vol. 48
76-86
EN
Human body in Western philosophy has been always described as the matter opposed to the Reason. However, this scheme cannot be applied to modern French philosophy in which dialectics reason – body is comprehended as an act of violence and exclusion of the body. For Deleuze there is vital need to understand the human being as an entirety. It is possible only as a version of materialistic, psychoanalytic thought. Deleuze refuses therefore autonomy of subject and tries to connect the subject and his body with “social mechanisms”. Finally human’s body is understood only as a source of pure social functions, presented as a “Body without Organs”.
12
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“It Is a Nomos Very Different from the Law”: on Anarchy and the Law

71%
Marneros C.
Acta Universitatis Lodziensis. Folia Iuridica
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2021
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vol. 96
125-139
PL
Relacja pomiędzy anarchią a prawem jest, delikatnie mówiąc, niewygodna. Tak zwane „klasyczne” stanowisko anarchistyczne – we wszystkich jego heterogenicznych tendencjach – charakteryzuje się zazwyczaj całkowitym sprzeciwem wobec prawa. Jednakże, pomimo swojego nieocenionego wkładu i nieustannie aktualnej krytyki stanu rzeczy, ta „klasyczna” pozycja anarchistyczna musi zostać ponownie zbadana i ponownie wyartykułowana, jeśli ma stanowić skuteczną przeszkodę dla obecnych (i bardzo złożonych) mechanizmów dominacji i opresji dogmatyzmu i dominacji prawa. Biorąc pod uwagę powyższe wyzwania, w niniejszym artykule analizuję i rozwijam dwa pojęcia myśli filozoficznej Gilles’a Deleuze’a, a mianowicie pojęcie instytucji oraz pojęcie nomosu nomadów. W ten sposób chcę na nowo przemyśleć relację między anarchią a prawem i ostatecznie wskazać na etyczno-polityczne ujęcie tego, co nazywam an-archicznym nomosem, który wymyka się (lub przynajmniej próbuje) dogmatyzmowi i „archistycznej” mentalności prawa.
EN
The relationship between anarchy and the law is, to say the least, an uncomfortable one. The so-called ‘classical’ anarchist position – in all its heterogeneous tendencies – is, usually, characterised by a total opposition against the law. However and despite its invaluable contribution and the ever-pertinent critique of the state of affairs, this ‘classical’ anarchist position needs to be re-examined and rearticulated if it is to pose an effective nuisance to the current (and much complex) mechanisms of domination and the oppression of dogmatism and dominance of the law. Taking into account the aforementioned challenges, in this article, I examine and develop two notions of the philosophical thought of Gilles Deleuze, namely that of the institution and that of the nomos of the nomads. In doing so, I aim to think anew the relationship between anarchy and the law and, ultimately, to point towards an ethico-political account, of what I shall call an an-archic nomos which escapes (or, at least, tries to) the dogmatism and “archist” mentality of the law.
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Krystaliczne obrazy Leosa Caraxa. Uwagi o "Chłopak spotyka dziewczynę" i "Złej krwi" w optyce koncepcji obrazu-czasu Gilles'a Deleuze'a

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Cybulski A.
Panoptikum
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2014
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issue 13(20)
89-102
EN
The author of the article analyses the first two feature films of Leos Carax in the perspective of Gilles Deleuze's reflection on cinema.
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Estetyczny reżim kina - filmowe bajki Jacques'a Ranciere'a

70%
Morawski J.
Panoptikum
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2014
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issue 13(20)
150-168
EN
Im my paper I am introducing philosophical film thought by Jacques Ranciere, presented in his book "Film Fables" (2006).
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Subjectivity as a play of territorialization: Exploring affective attachments to place through collective biography

70%
Zabrodska K., Ellwood C.
Human Affairs
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2011
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vol. 21
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issue 2
184-195
EN
In this paper the authors seek to contribute to a new ontology of an embodied, desiring subject through an exploration of their own subjectivities and of the ways in which subjectivities are produced and transformed through affective attachments to place. Using the method of collective biography (Davies, Gannon 2006) and drawing on Deleuze and Guattari’s concepts of desire and territorialization they examine their affective responses and attachments to place: Australia and the Czech Republic. As a point of departure for their analysis, the authors ask: What does it mean to be homesick for a place which is not one’s home? What does it mean to desire a place? What of the other place is inscribed in the body? In asking this, the authors show the extent to which place is a zone of immanence in which a continual play of de- and re-territorialization occurs.
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The Post-Literary Era, Leonardo’s Paradigm From Comparative Cultural Studies to Post-literary Study. Gilles Deleuze and Central-European Thought. Post-literature.

70%
Severin C.
Human and Social Studies
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2016
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vol. 5
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issue 3
39-55
EN
The idea to write this essay came after I studied, almost in the same period, the works of two major contemporary philosophers: the US-American Michael Heim, known as the best theorist of virtual reality, and the French Gilles Deleuze. At the beginning of the new millennium, I have noticed many challenging transformations in art and literature, influenced by the emerging of the new technologies and the self-transformation that it is currently undergoing. This was the major reason I tried to launch a new concept, post-literarure, in order to describe the complex forms of art in the contemporary culture. The concept of post-literature defines metamorphoses and tensions in the world of contemporary creativity, the co-existence, even merging of fields with autonomous profiles in the past. In my opinion the changes are so radical and quick that we can already talk about a new cultural paradigm in this post-literary epoch, with so many amazing projects imagined by kinetic and temporary organizations, focused on interdisciplinary work and hybridization, on substitution of confrontation between interfering disciplines by dialogue and cohabitation among them, on interchangeability and virtual textualism.
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Knjiga za zombije. O programiranoj budućnosti i pisanju bez posljednje svrhe

70%
Paić Ž.
Poznańskie Studia Slawistyczne
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2019
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issue 17
173-189
EN
The article deals with the analysis of the relationship between art, literature, and democracy, starting with the interpretation of Deleuzeʼs reading of D.H. Lawrence, Apocalypse. It is shown that in the contemporary world we are faced with a radical turn of knowledge, values and ways of thinking. Instead of the word prophecy, the act becomes a vision of transparency that has its most powerful means in the logic of mass media interaction. Hence the image that precedes the world has the potential for transforming the idea of the Book into a post-apocalyptic era of visualization of objects. With the help of Deleuzeʼs concepts such as multitude, difference and becoming, the article focuses on the criticism of the democratic emptiness of the world from which the secret has disappeared, and there has been only writing for survivors, the Book for Zombies. Is this a metaphysical testament at the time when writing has nothing more to do with the reference framework of modern art, when a change in the society could still set goals and tasks?
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The Movement of Deleuzoguattarian War Machine and the Duration of City

70%
Zimpel J.
Anthropos?
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2018
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issue 27 W ruchu
1-12
EN
The article proposes a reconstruction of the basic assumptions of the concept of movement introduced by Deleuze and Guattari in A Thousand plateaus. The reconstruction, based on the strategy of a close reading, distinguishes three basic elements describing the absolute movement of war machine: a contingent change of direction dictated by a factual necessity, free action and a creative act. The context of reflection on the movement of a war machine is the question of its role in developing urbanity. The article puts forward the thesis that the city and its culture is the effect of a productive tension between the smooth and striated space, the duration of which depends on maintaining difference which divide them.
19
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W fabryce pragnienia. Gillesa Deleuze'a i Felixa Guattariego teoria nieświadomego

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Skonieczny K.
Analiza i Egzystencja. Czasopismo Filozoficzne
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2012
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issue nr 20
83-101
EN
The text presents the theory of the unconscious that can be found in the worksof the philosophico-psychoanalytical pair of French thinkers: Gilles Deleuzeand Felix Guattari. Their theory was conceived in opposition to the classicalfreudian psychoanalysis as well as a certain interpretation of lacanism. It consistsof three main parts: the analysis of desire as the “content” of the unconscious; de-siring machines that form its “infrastructure”; and the authors’ proposal on how to“read” the unconscious. The authors ofAnti-Oedipusoppose to a theory of desirethat links it with lack, the signifier and Law, to describe it as positive, productive,real and non-signifying. They describe the unconscious as multiplicity of moleculardesiring machines that always function in the social realm. Deleuze and Guattaripropose a manner of “reading” the unconscious that opposes both the Freudianmethod of deciphering it as well as the “structuralist” psychoanalysis’ method ofsearching for the Signifier, and instead focuses on examining the work of desiringmachines.
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Introduction aux rapports entre photographie et peinture chez Francis Bacon selon Deleuze (dans Logique de la Sensation)

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Heusghem C.
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2021
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vol. 53
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issue 2
56-78
EN
The aim of this article is to present a concise summary and review about the theses of Deleuze on the relations between painting and photography but also about his account of Bacon through the prism of this question in his book Francis Bacon : Logique de la sensation. This article could only be seen as an introduction and perhaps an invitation to read deeper studies about the important and numerous links between Deleuze's philosophy and art. 
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