(P/B) THE FOLD

Παρουσίαση

In The Fold Deleuze proposes a new radical way of understanding philosophy and art. Leibniz drew on the art of the baroque period in his invention of the concept of the fold; Deleuze develops the concept further to present a new way of practising philosophy based upon the fold as the relationship of difference with itself. (from the publisher)

Περιεχόμενα

I. The Fold
1. The pleats of matter
The fold that goes to infinity - The Baroque home - the lower floor: matter, elastic forces, springs - Organism and plastic forces - Organic folds - Why another floor is needed, a problem of the animal soul - The elevation of reasonable souls, and its organic and inorganic consequences
2. The folds in the soul
Inflection - Singularities - Baroque mathematics and variation: the irrational number, the differential quotient, the family of curvatures - The new status of the object - Perspectivism: variation and point of view - The new status of the subject - From inflection to inclusion - The subdivision - The monad, the world, and the condition of closure
3. What is Baroque?
The room without windows - The inside and the outside, the high and the low - Heidegger, Mallarme, and the fold -Baroque light - The search for a concept - The six esthetic qualities of the Baroque - Modern or abstract art: textures and folded forms
II. Inclusions
4. Sufficient reason
Events or predicates - The four classes of beings, the genres of predicates, the nature of subjects, the modes of inclusions, the case of infinity, the corresponding principles - Leibniz's mannerism - The predicate is not an attribute - The five criteria of substance - Styles and depth - The play of principles
5. Incompossibility, individuality, liberty Incompossibility or the divergence of series - The Baroque narrative - Preindividual and individual singularities - The play of the Baroque world - Optimism, the world's misery, and Mannerism - The question of human liberty - A phenomenology of motifs - Inclusion of the predicate and the living present - Leibniz and Bergson: movement as it happens - Baroque damnation
6. What is an event?
Whitehead the successor - Extension, intensity, the individual - Prehensions and monads - Eternal objects - The concert - Modern Leibnizianism: suppression of the condition of closure, and the neo-Baroque
III. Having a Body
7. Perception in the folds
The requirement of having a body - First stage of deduction: from the world to perception in the monad - Minute perceptions: the ordinary and the remarkable - Differential relations - Recapitulation of singularities - Psychic mechanism and hallucinatory perception - Dusts and folds in the soul - Second stage: from perception to the organic body - What does perception look like? - Organs and vibrations: the physical mechanism of excitation - Pleats of matter - The status of calculus
8. The two floors
The two halves: the ones and the others, the 'each' and 'every' - Mathematics of halves - The role of the extrema - Virtual-present, possible-real: the event - Leibniz and Husserl: the theory of appurtenances - Body and soul: appurtenance inverted, provisional appurtenances - Domination and vinculum - The three species of monads: dominant, dominated, defective - Crowds, organisms, and heaps - Force - Private and public - Where does the fold go?
9. The new harmony
Baroque clothing and matter clothed - The fold to infinity: painting, sculpture, architecture, and theatre - The unity of the arts - The world as a cone: allegory, emblem, and device -Leibniz's concettism - 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