the fold leibniz and the baroque nov 1992

The Fold Leibniz and the Baroque Gilles Deleuze Foreword and translation by Tom Conley THE ATHLONE PRESS London Firsl publlsMd I" G'~QI BrjlGin 199) by The Athloae Press Ltd I Part Drive London NW II 7SG " 1993 The Regents of the University of Minnesota Flllit publiihed in France as I.e p [j; L~j"" j 1% tI I~ BQroq,.~ <> Les Editions de Minuil. Paris A catalogue record for this book is available from the British Library ISBN 0485 11421 6 (hbk) 0485 120879 (pbk) All rights reserved. No pan of this publication may be reproduced. stored in a retrieval s),stem, or transmitted in any form or by any means, electronic, mechanical. photocopying or otherwise, without prior permission in Mitine from the publisher. Printed in the United State~ of America Content" Translator's Foreword: A Plea for Leibniz I. The Fold I. The Pleats of Matter The fold lhat goes to infinity - The Baroque home - the lower floor: maller, elastic forces, springs - Organism and plastic forces - Organic folds - Why another floor is needed. a problem of the animal soul - The elevation of reasOlUlhle souls. and ils organic and inorganic <:om'equences 2. The Folds in the Soul Inflection - Singularities - Baroque mathematic.! and variation: tht' irrational number, the differential quotient, the family of curvatures The new status of the objt'ct - Pers~cti\oism: variarion and poi", of view - The new statu.' of tht' .!ubject From inflection 10 inclusion The subdMsion Tht' monad, tht' world. and the condition of closure ix 3 14 3, What Is Baroque'~ 27 The rt)()m without windows - The inside und the outside, the high and the low - Heidegger. Mallarme. and the fold - Baroque light - The search for a concept - The su esthetic qualilies of the Baroque - Modern or abstra(.'t arl: textures undfoldedforms v CONTENTS II. Inclusions 4. Sufficient Reason Events or predicates - The four classes of beings. the genres of predi"aJes, the nature of subjects, the modes of indusions, the l'ase of infinity, the "orresponding principles - Leibniz's mannerism - The predicate is not an allribute - The five criteria of subSlanl't' Styles and depth - The play of principles 41 5. Incompossibility, Individuality. Liberty 59 Incompossibility or the divergence of series - The Baroqw IIIl1'rative - Preindividual and individual singularities - The play of the Baroque world - Optimism, the world's misery. and Mannerism - The question of Iumum liberty - A phenomenology of motifs - Indusion of the predicate and the living preselll - Leibniz and Bergson: movemelll as it happens - Baroque damnation 6. What Is an Event? 76 Whitehead the successor - Extension, intensity. the individual - Prehensions and monads - Eternal objects - The concert - Modern Leibnizitmism: suppression of the condition of closure. and the neo-Baroque III. Having a Body 7. Perception in the Folds 85 The reqMirement of having a body - First stage of deduction: from the world 10 perception in the monad - Mi/IMte pert'eptions: the ordinary and the remmkllble - Differelllial relations - Recapitulation of sing~rities - Psychic mtcha"ism and hallucinatory perception - Dusls and folds i" lhe soul - Second stage: from perception 10 the organi,' body - What does perception look like? - Organs and vibrati(}1f.~: lhe physical mechanism of excitaJion - Pleats of mailer - The slatus of calculus 8. The Two Roors 100 The two halves: the ones and Ihe others. the "each" and "every" Mathematics of halves - The role of the exlrt'ma - VirnuU-present. possible-real: the event - Leibniz and Husserl: the theory of appurtenances - Body and soul: appurtenance inverted. provisional appurtenam'es - Domination and vinc:ulum - The three species of monads: dominant, dominated. defective - Crowds, organisms. and heaps - Force - Private and public: - Where does the fold go? CONTENTS vii 9. The New Hannony 121 Baroque clothing and mailer clothed - The fold to infinity: painting. sculpture, archite,"ture, and thealer - The unity of the arts - The world as a cone; allegory, emblem, and device - uibn;z's c:oncell;5m - Music or higher unity - Harmonics: the monad as number - Theory of accords - The two aspects of harmony: spontaneity and concertation - Harmony, melody, and Baroque music Notes Index 139 165 [...]... things: there are all kinds of folds coming from the East Gn:ck Roman, Romanesque, Gothic Classical Yet the Baroque trait twists and turns its folds, pushing them [0 infolds finity fold over fold, one upon Ihe other Tbe Baroque fold unfurls all the way to infinity First the Baroque differentiates its folds in two ways by moving along two infinities, as if infinity were composed of two stages or floors: the. .. affmn: a correspondence and even a communication between the two levels, between the two labyrinths between the pleats of matter and the folds in the soul A fold between the two fold " And the same image that of veins in marble is applied to the two under different conditions Sometimes the veins are the pleats of matter that surround living beings held in the mass such that the marble tile resembles... at the meeting of the curved and straight lines, produces a point -fold II is iden- v tical in the case of the differential quotient, with the point -fold A that retains the relation c e when these two magnitudes vanish (that too is the relation between a radius and a tangent that fits the angle in C) 9 In short, there wiD always be an inflection that makes a fold from variation, and that brings the fold. .. two others no matter how close one is to the other; but there remains the latitude to always add a detour by making each interval the site of a new folding That is how we go from fold to fold and not from point to point and how every contour is blurred to give definition to the formal powers of the raw material which rise to the surface and are put forward as so many detours and supplementary folds... always between two folds and because the between-two-folds seems to move about everywhere: Is it between inorganic bodie.'i and organisms between organisms and animal souls between animal souls and reasonable souls between bodies and souls in general? Chapter 2 The Folds in the Soul Inflection is the ideal genetic element of the variable curve or fold Inflection is the authentic atom, the elastic point... energy, and maner, and that diffuse them into the atmosphere Allusive as the politics of geophilosophy may be, some of its clearest manifestations are found at the end of The Fold In the final chapter, Deleuze ties Lcibniz's concept of "new harmony" to Baroque and contemporary music.' He picks up however, the strands of his discussion on the Baroque home that he had elaborated in the first and third chapters... labyrinth is the fold, not the point which is never a part but a simple extremity of the line That is why parts of matter are masses or aggregates as a correlative to elastic compressive force Unfolding is thus not the contrary of folding but follows the fold up to the following fold Particles are "turned into folds," that a "contrary effort changes over and again " •• Folds of winds of waters of fire and earth... acquires a new meaning since the pond - and the marble tile - no longer refer to elastic waves that swim through them like inorganic folds but to fish that inhabit them like organic folds And in life itself the inner sites contained are even more hatcheries full of other fish: a "swarm." Inorganic folds of sites move between two organic folds For Leibniz as for the Baroque the principles of reason are veritable... sealed act" that marks their fate And when the hour comes for them to unfold their parts to attain a degree of organic development proper to man or to form cerebral folds at the same time their animal soul becomes reasonable by gaining a greater degree of unity (mind): "The organized body would receive at the same time the disposition of the human body and its soul would be raised to the stage of a reasonable... Leibniz' s critique of Cartesian space the author pleads for tact of body and environment The Fold makes its sensibility manifest through its turns of style The sentences are simple and the transparency of their expression often beguiling They are built less from the verb or the tension of the subject and predicate than along the path of its logical "seams" on the edges or pleats of each sentence Many . and theology help to e!!.plain- or unfold - what we know about the world at the end of the twentieth century. The experience of the Baroque entails that of the fold. Leibniz. Baroque& apos;~ 27 The rt)()m without windows - The inside und the outside, the high and the low - Heidegger. Mallarme. and the fold - Baroque light - The search for a concept - The su esthetic. tact of body and environment. The Fold makes its sensibility manifest through its turns of style. The sen- tences are simple. and the transparency of their expression often beguiling. They