: 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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From here, we need first to select a context and then In this difficult book, Gilles Deleuze takes the figure of Leibniz as a starting point to reach a determinate position of differentiation.
These represent stable, unstable,neutral and metastable equilibria respectively. Reciprocal inclusion also means that we can go back along the chain of definitions to arrive leubniz ‘undefinables However, luckily, there is an accord between these regimes, or harmony, between the soul and its body, and therefore between other souls and other bodies in its surroundings. Two souls do not always have the same region to express.
The Fold, explained
As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts. Leibniz began to develop such ‘baroque mathematics’, trying to explain variation itself, beyond particular values, and approaching the infinite [some examples tge given using irrational numbers, 18].
Curves are now finite, with definite coordinates, minimum and maximum, not just ‘vectors of concavity’ that defined inflection and inclusion.
How are they related? Which set of leobniz should we take thw be primary? There are three levels: Mapping the Axiomatic and the Problematic in School Mathematics. The problem here is that just about every period and style has used a fold in painting and sculpture.
This looks like a real problem for Leibniz, ‘an almost insufferable paradox’, because so far, the notion of a preestablished harmony between the monads has implied no outer relation, ‘but only ties regulated on the inside’.
This is quite different from classical conceptions which saw the concept as the being of reason, an essence or logical cold. No trivia or quizzes yet.
Gilles Deleuze, The Fold: Leibniz and the Baroque – PhilPapers
In The Fold it is as Deleuze himself that is being taken by Leibniz, and giving birth to a Deleuzian monster with Leibnizian thought, rather than the other way around. We can classify folds and deduce consequences from them, and produce agglomerations or conglomerations of matter [before that, apparently, we had to think about matter agglomerating through a form of weaving] Chapter four Sufficient reason [Finding Ch.
The opening image of the Baroque is a bit vague, but then again, Deleuze has always been short on precise connections and plentiful on creative and unorthodox imageries.
Sep 09, Lewis colburn rated it it was ok. In Negotiations he famously said that he take the author by the rear and gives birth to a monster the other exception to this being the Kant book. They also described ‘a function of an ideal line which is actualized on one level and realized on another’ Retrieved from ” https: We can consider absolute forms like Identicals as ‘simple and separated folds’; Definables are composite folds; requisites with limits ‘resemble even more complex hems and take up textures ‘ 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.
A Journal for the History of Philosophy 8 1: The first one is simply true logically, but the second is controversial. Nevertheless, there are no other fundamental differences: Read more Read less.
The Fold: Leibniz and the Baroque
We can replace the notion of parts and wholes by the degrees to which characters appear [the example is that the inner characters of a sound might include intensity, pitch, duration and timbre; the characters of gold include colour, weight, malleability and so on]. Matter moves along tangents, but is also compressed to make it curvilinear or spinning, linking with surrounding areas.
This has led to later work on geophilosophy or absolute deterritorialization. However, normally texture is produced by the way a material is folded, a style [which has got something to do with mannerism, apparently] [Mannerism appears to be an artistic style that usually is seen as predating the baroque, unlike the relation in Deleuze, when, somehow, the baroque, or at least Leibniz, turns into the mannerist.
It is different layers and their actions that produce the related qualities of the objectile. One person ,eibniz this helpful. The elastic and the plastic forces both ghe folds, but again one does not turn into the other directly, so there is no automatic generation of the plastic, so no notion of universal spirit. It also shows the proliferation of principles, which hre next chapter is going to argue is Leibniz’s way of working, one which helps him avoid taking sides for or against more anc and reductive approaches: What is it that is being actualized and realized?
There are different lexical constructions. Share your thoughts with other customers. Leibniz uses the metaphor of the veins in marble [veins in a statue made of marble that is], sometimes to describe pleats of matter snd surround living beings, sometimes to refer to innate ideas in the soul, to convey the notion of statues trapped in marble.
Who was more out-there? The mathematics introduces new conceptions of point of view. There is a further stage, where the actual is realised.
We have a number of folds’ to choose from—the orient, or the Greek beloware particularly important to Greek thought, a mixture of two terms, and an encirclement, the folding found in forms for Plato [and in some modern biology, it seems].