: 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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This is apparently a mannerist conception, and it replaces the notion of essence with that of event [it seems pretty similar to the notion of machinic variation producing specific singularities?

A masterful work on Deleuze’s part, as always. Adam sinned, but he could have not sinned— there is no inherent contradiction between the two states, although there may be between the two statements, and this applies bsroque all the existents [contradiction is possible with logical statements].

Without these forces, ‘the body would follow the straight tangent’.

So there are two equations of the world, one in minds and conceptions, and one in nature itself. Individual conclusions are ‘enveloped everywhere in the “machinic” manner of the text’.

Notice that to show that the identity of indiscernibles is false, it is sufficient that one provides a model in which there are two distinct numerically nonidentical things that have all the same properties.

Mostly this is reminding me that I’m still supposed to be reading Whitehead’s Process and Reality, and actually encouraging me to take it on again The two worlds are related not through contradiction but vice-diction.

How are they related? The curve is always there, even if it is intermingled with straight lines [I think the argument is that fodl point on a line, even a straight one, or the apex of a triangle, can be a point of inflection].

The definition and the combination of definers can be substituted for each other, as in ‘reciprocal inclusion'[the example is defining ‘3 by 2 and 1’—’and’ here means ‘add’? In the material universe of bodies, we find movement, propagating waves and interactions.

The Fold, explained

The monad contains the series, but not the reason for it, including the reason for its own particular role. Every form that is infinite is identical to itself, ‘raised directly to infinity by itself and not by means of a cause’. Another way to put this? Different characters produce series, which never stop ‘varying or dividing’. Baroque is what has developed this new harmonious link delejze inside and facade.


They feature in turn absolute symbols, Identicals; relative symbols, Definables; and requisites, converging series tending towards limits. The first process goes from whole to part, from the entire world to a zone of it; the second one relates parts and parts, near to far, from the expression of its related monad, to the zones of expression of others. The cold has been described as the tendency of vector turning on gravity, strongest at the bottom, featuring weighty mass, combined with an elevated weightlessness.

It consists in traversing the Idea as a multiplicity. Folding accounts for the division of the continuous, and there are an infinite number of folds.

For Descartes, substances were simple notions, and their elements needs to be abstracted through the application of reason. They also described ‘a function of an ideal line which is actualized on one level and realized on another’ fld These qualities can sometimes be displayed in artistic forms ad as Renonciat belowwhere wood is sculptured to look like cloth. Obscure and clever stuff. In the actual work by Leibniz, there are lots more principles and transformations of them.

Gilles Deleuze, The Fold: Leibniz and the Baroque – PhilPapers

Descartes also screwed up by comparing the simple to the complete, in order to develop the notion of real distinction, but the latter also ‘entails only the concept’ in the first place. 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.

Here it is a bit more obscure—contradiction operates with properties that are contained in the essence, to gloss this quite a lot, whereas vice-diction sees the relevant properties in the case, not in the essence. Baroque painting, as an image of the monad, does indeed start with darker backgrounds things that ‘jump out’, colours arising from a common base.

From here we get the change of scale, that the figure of the monad as a compete singularity can also bind other monads. However, trying to establish characters leads downwards towards experiment and observations of animals, and upwards towards fully rational knowledge.


The Fold: Leibniz and the Baroque

Leibniz seems to suggest this in terms of saying that all the points of view are still connected [which seems to imply that there is no such thing as a fully independent point of view, including a master point of view, since all points of view are connected—’and the entire world is enclosed in the soul from one point of view’ 26 ].

Ships from and sold by Amazon. These principles also show reciprocal argument — who knows which one came first in Leibniz’s thought, even though they appear as one following as a consequence of the other in the actual order of presentation?

The world is an infinite series of curvatures or inflections, and the entire world is enclosed in the soul from one point of view. It is a becoming Leibniz of Deleuze, rather than a becoming Deleuze of Leibniz. Organisms must have some source of their tremendous power to fold and unfold themselves forever. This relates the principle of indiscernibles and the law of continuity.

We can also think of the fold as power [not just in the mathematical sense?

: Fold: Leibniz and the Baroque (): Gilles Deleuze: Books

Maybe I am being too harsh here and don’t understand what Deleuze is doing fully, but I was a bit dismayed to see baroqu all the hoopla was based on some very difficult and obscure writing that most people fld fully understand whether they admit it or not.

The translation has some issues, but the difficulty is not due to the translation: The series diverge at the point at which one of the characters leaves the temple. The second type gives us the Combinatory, the third type the Characteristic.

If you are a seller for this product, would you like to suggest updates through seller support? Leibniz here is engaging in an old debate about the union of the soul and the body, about incarnation.