Above the fold

the deleuze fold pdf

The article proposes to construct an affirmative biopolitics through the confrontation of the political on- toologies of Johann Fichte and Gilles Deleuze. It will show the affinity between Thathandlung and four Deleuzian concepts that are intertwined throughout his work: eternal return, intensity, affectus and fold. However, both transcendental philosophies diverge in their conception of time: in Fichte, it leads to a contrast between the agility of the pure activity of the Ego (eternal) and the fixity of the practical-political determinations (temporal), while in Deleuze it concretizes the immanence between both planes. This fixity in Fichte is observed on the plane of applicability (the body as sphere of action) and determines his conception of the State. Thus, an applicability based on the form of the fold makes it possible to postulate, in conclusion, a Deleuzian form of State that is effective in the face of the challenges of the contemporary world.
This paper aims to construct an affirmative biopolitics through the confrontation of the political ontologies of Johann Fichte and Gilles Deleuze. We will show the affinity between the Thathandlung and four Deleuzian concepts that are interwoven throughout his work: eternal return, intensity, affectus and fold. However, both transcendental philosophies differ in their conception of time: Fichte opposes the agility of the pure activity of the I (eternal) with the inflexibility of the practical- political determinations (temporal), whereas Deleuze’s philosophy realizes the immanence of both realms. Ficthean inflexibility is observable in the realm of applicability (the body as the sphere of action) and determines its conception of the State. Therefore, to conclude, an applicability based on the form of the fold enables us to propose a Deleuzian form of State that may be effective faced with the challenges of the contemporary world.

nofi studio

The fold has always been a constant of all artistic periods, but it was the Baroque that pushed it to its own limits. The unequivocally baroque condition of Leibniz’s philosophy. The unequivocally baroque condition of Leibniz’s philosophy, for example, finds its justification in the fact that, in it, everything folds, unfolds and withdraws. His most famous thesis is that of the soul understood as a “monad,” without doors or windows, which draws its clearest insights from a shadowy background: a theory that can only be understood by analogy with the interior of any baroque chapel with openings imperceptible to the observer from within. Thus, the soul is also full of dark folds.
Your text will go through a validation process to check that it does not violate any rules for posting comments. If you have sent us a complaint or question, we will publish it and answer it.

the deleuze fold summary

Folding is a deformation of rocks, generally sedimentary, in which elements of horizontal character, such as strata or schistosity planes (in the case of metamorphic rocks), are curved forming elongated undulations with directions more or less parallel to each other.
The folds are caused by compressive stresses on the rocks that do not break them; on the other hand, when they do, the so-called faults are formed. They are usually located at the edges of tectonic plates and are due to two types of forces: lateral, caused by the interaction of the plates themselves (convergence) and vertical, as a result of uplift due to the phenomenon of subduction along a more or less wide and elongated subduction zone, in which mountain ranges or folding reliefs arise.

the leibniz fold and the baroque pdf

Fillol S. El pliegue y el fuera de campo: formas de representar lo irrepresentable, moldeadas por el código Hays en el cine clásico = Off-screen space and the fold: ways of representing the unrepresentable, shaped by the Hays code in classical cinema. L’Atalante: journal of film studies. 2019;(28):49-62.
This article sets out to analyze the out-of-field and the folds with which classical Hollywood shaped its most lurid scenes under the Hays censorship code. The first part of the article studies the use of the off-field, interpreting the narrative limits and the conventional uses that this form had during the validity of this code. In the final chapters, the concept of “fold” is proposed, borrowed from Gilles Deleuze and his studies on the philosophy of Leibniz and …
This article sets out to analyze the out-of-field and folds with which classical Hollywood shaped its most lurid scenes under the Hays censorship code. The first part of the article studies the use of the off-field, interpreting the narrative limits and the conventional uses that this form had during the validity of this code. In the final chapters, the concept of “fold”, taken from Gilles Deleuze and his studies on the philosophy of Leibniz and the baroque, is proposed to name and analyze a more elaborate and complex type of figuration that, having also matured under censorship, has gone beyond it.

Esta web utiliza cookies propias para su correcto funcionamiento. Al hacer clic en el botón Aceptar, acepta el uso de estas tecnologías y el procesamiento de tus datos para estos propósitos. Más información
Privacidad