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Copyright of Revista de Filosofía (0185-3481) is the property of Universidad Iberoamericana Cuidad de Mexico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article titled "Gilles Deleuze and Félix Guattari. Current Perspectives of a Vitalist Philosophy" is a book edited by Patricio Landaeta and José Ezcurdia that presents a series of articles written by researchers from the Latin American Deleuze and Guattari Studies Network. The book addresses topics such as the production of subjectivity, bioinformatic machines, experimentation in images, and the formation of colonial Oedipuses, among others. The possibility of reading "Anti-Oedipus" from the perspective of Frantz Fanon's thought is discussed, experimental cinema and the creation of sensitive archives are analyzed, the task of translating Deleuze and Guattari is reflected upon, the different modes of the conceptual character of the idiot in Deleuze's work are explored, dramatization in their work is addressed, the concept of strata and its relationship with processes of deterritorialization and reterritorialization is examined, and Deleuze and Guattari's theories of assemblage are contrasted with Foucault's concept of "dispositif". In general, the article highlights the power of the concepts and characters created by Deleuze and Guattari and their ability to generate resistance against contemporary pathologies. [Extracted from the article]

This paper aims to question what it means to acquire a proper name in painting. To do so, we work on a painter who was part of the Mexican Renaissance: David Alfaro Siqueiros (1894-1974). So, to resolve the leading questioning of this paper, we walk through three paths. The first demands to think about the apparatuses of capture with which painting is extracted from its revolutionary character. The second of them request to think about the repercussions that are at stake at painting people for the acquisition of our own name in painting. Finally, the third path makes us question the links between the logic of self-portraiture and the acquisition of one's own name. It should be noted that all the above is carried out through a conceptual work that echoes different names of contemporary philosophy such as Gilles Deleuze, Félix Guattari, and Georges Didi-Huberman, as well as specialists in Mexican painting and culture such as Octavio Paz, Luis Cardoza y Aragón, Carlos Monsiváis, among others. [ABSTRACT FROM AUTHOR]