: Fold: Leibniz and the Baroque (): Gilles Deleuze: Books. GILLES DELEUZE. The Fold*. MATERIAL COILS1. The Baroque does not refer to an essence Gottfried Wilhelm Leibniz, Philosophical Papers and Letters, vol. Title, The Fold: Leibniz and the Baroque. Author, Gilles Deleuze. Edition, illustrated, reprint. Publisher, University of Minnesota Press, ISBN,

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In this way, the monad can ‘give way to a large zone of immanence’. Thought, in philosophy, is conceived as a reference point for purity of form.

The book is also full of other interesting and elusive scientific theories in the realm of physics, mathematics, and set-theory. We have to depart from Leibniz [to not pursue the path into the infinite? The Logic of Sensation.

Organic interiors can then be changed by the deoeuze of individuation’, while other individual enclosures simply show the affects of folding [the example is individual leaves of the tree]. Requisites are what constitute substance, through five criteria: Dec 22, Sarah rated it liked it. The four singularities attached to Adam, above, are extended along regular lines ‘that have common values in both directions’ We understand the upper floor of the monad by thinking in terms of projection—the projection of the film in a dark room, or mathematical functions projected from actual calculations in Leibniz’s calculus.

The Fold, explained

Maja rated it it was amazing Jun 12, There is no attempt to reproduce original concepts in stamped repetitions. In this sense, “The Fold” is closer to Deleuze’s book on Foucault in that he creates a new philosopher: Similarly, visibility is not entirely similar to point of view.

There is only a possibility of being realized. Deleuze also pursue some of these implications at the end of this book and talks about, for example ‘the radiation of musical waves’ xvi surrounding monads. Discover Prime Book Box for Kids.

The Fold: Leibniz and the Baroque – Wikipedia

Unlike the earlier writings on the history of philosophy where Deleuze remained faithful in his readings, “The Fold” is definitely a performance of Deleuze-Leibniz–more Deleuze than Leibniz but Leibniz as, shall we say, a creative inspiration? Here we are talking not about extensions but intensions and intensities, and not relations but laws [I can’t see why, unless what we are getting at here is that we can perform conventional and predictable mathematical operations on finite series?


However, it is a different notion from localization in bodies, to a projection outside of bodies focusing on bodies. It is a particular kind of harmony and union that produces real distinctions together with inseparability [I am reminded of Durkheim and the hope that organic solidarity would provide a social bond between separate and autonomous individuals].

We read the concept or notion in the thing itself. Everything … are the folded things! We can try to understand inner characteristics from the outside, through experiments, for example.

Request removal from index. We try to find the best point of view to determine the indeterminate, in the middle of chaos or disorder, as with anamorphosis. So there are two stages of deduction, first from the monad to what is perceived, but here deleeuze encounter [the problem of idealism via] Berkeley, and we cannot conclude that actual material bodies exist, not even our own.

Apr 06, Peter added it. Indeed, when discussing Identicals, ‘non contradiction suffices as reason’ and [more bafflingly] ‘the principle of contradiction is a case of sufficient reason'[a note refers us to Leibniz himself, and his apparent view that sufficient reason should also be extended to examine contingent truths as well as necessary ones].

Adam’s world is a part of Adam as subject, but he is a baroqus for that world. Instead, we need to talk about ‘inclusion or inherence’ as ‘the final cause of the fold’ Also, ‘new turbulences are inserted between the initial ones’ 18and inflection points trace a vortex.

We can always stop the leobniz of definitions if we bzroque, and use one as if it were an identical or requisite, at folx in the domains of logic and matters: They also pursue folding, unfolding and refolding to account for perceptions of the world as having shrunk, while organic and biological matters have become more important.

Squisito saggio di Deleuze incentrato sulla filosofia di Leibniz che offre molti spunti, soprattutto nella prima parte e nell’ultimo capitolo, per un’interpretazione storica e contemporanea del Barocco attraverso il concetto di “piega”. For H, the monad is replaced by the ego, the self has a sphere of its possessions, and in that sphere of appurtenance, I can find something that I do not possess, something foreign to me, something objective, an other.


May 09, Daniel Coffeen rated it it was amazing.

The Fold: Leibniz and the Baroque

The modern conception sees folding as emerging from a relatively smooth surface rather than from another fold, an original differentiation, not a difference of another differentiation already. How it did actually work was clearly a philosophical problem, but physicists cheerfully ignored the problem, eventually anyway.

Baroque art celebrates the textures of matter, including that in a modern form as in Klee, but also includes ‘immaterial folds’ 40 as ‘styles or manners'[reworked as the difference between raw material and force to produce a new ‘material – force’ to replace the old distinctions between matter and form].

Any apparent problems that Leibniz had with defining relations arose from considering attributes and predicates as the same. Artists and musicians have been inspired by this sort of argument, and have sought to ‘transform monadology into nomadology’, especially to connect private space and public world.

There is a further stage, where the actual is realised. We can generalize, but if we analyze deeply enough, we will find that concepts relate to individual things only. Using terms characteristic of the baroque and types of fabric, ‘knowledge is known only where it is folded’.

This article does not cite any sources. The link has been described as the tendency of vector turning on gravity, strongest at the bottom, featuring weighty mass, combined with an elevated weightlessness. This in turn emphasizes continually changing relations among the monads, despite their [spiritual] harmony and union.

In the monad, the inside is disconnected from the outside, from its facade.