La cultura desgarrada: Gilles Deleuze y los bordes de lo sensible.

The work of Gilles Deleuze, and the post-structuralist tradition in general, is not characterized by working from the concept of culture, which he considers reactive. In tune with the Nietzschean text, in the '60s the French philosopher tangentially alludes to the idea of culture as training and selection, a question that later moves (in the '70s and '80s) to ontologically different categories such as of molarity or majority structure. Despite this, the author does not fail to recognize that philosophical thought is framed, in principle, in the material horizon of a given culture. Faced with such an inscription, a new image of thought occurs in the zones of breakdown of a cultural determination based on common sense and good sense. It is from the rupture of such representations that a thought can escape towards the configuration of other modalities of existence (which are also resistance), both philosophical, political, social and aesthetic. In accordance with this, Deleuze thinks about the distinction between the majority and the minority and permanently addresses sensitive configurations (which we could call cultural), such as literature, painting, cinema, theater or music. However, it does not focus on the cultural value of such works, but rather on their fugitive nature from the majority culture. In this paper, we propose to address the place that culture has in Deleuze's thought, considered from the idea of a minority becoming faced with the normative determinations of a culture that operates as a capture device, and the way in which this criticism is unfolds in oblique analyzes of artistic disciplines. [ABSTRACT FROM AUTHOR]