>For some time now the idea of an infinite universe has been hypothesized, a universe that has lost all centre as well as any figure that could be attributed to it; but the essence of the Baroque is that it is given unity, through a projection that emanates from a summit as a point of view. For some lime the world has been understood on a theatrical basis, as a dream, an illusion - as Harlequin's costume, as Leibniz would say.
>But the essence of the Baroque entails neither falling into nor emerging from illusion but rather realizing something in illusion itself, or of tying it to a spiritual presence that endows its spaces and fragments with a collective unity. The prince of Hamburg, and all of Kleist's characters, are not so much Romantic as they are Baroque heroes. Prey to the giddiness of minute perceptions, they endlessly reach presence in illusion, in vanishment, in swooning, or by converting illusion into presence: Penthesilea-Theresa?
>The Baroque artists know well that hallucination does not feign presence, but that presence is hallucinatory.
>posts something random >what did he mean by this? >discuss >Veeky Forums
Colton Williams
2/5
>Even compressed, folded, and enveloped, elements are powers that enlarge and distend the world. It hardly suffices to speak of a succession of limits or of frames, for every frame marks a direction of space that coexists with the others, and each form is linked to unlimited space in all directions at once. It is a broad and floating world, at least on its base, a scene or an immense plateau. But this continuity of the arts, this collective unity in extension, goes out and beyond, toward an entirely different unity that is comprehensive and spiritual, punctual, is indeed conceptual: the world as a pyramid or a cone, that joins its broad material base, lost in vapors, to an apex, a luminous origin or a point of view.
>Leibniz's world is one that encounters no difficulty in reconciling full continuity in extension with the most comprehensive and tighlly knit individuality. Bernini's Saint Theresa does not find her spiritual unity in the satyr's little arrow, that merely spreads fire, but in the upper origin of the golden rays above.
Jayden Morgan
3/5
>The resolution of dissonance is tantamount to displacing pain, to searching for the major accord with which it is consonant. Just as the martyr knows how to do it at the highest point and, in that way, not suppress pain itself, but suppress resonance or resentment, by avoiding passivity, by pursuing the effort to suppress causes, even if the martyr's force of opposition is not attained. All of Leibniz's theory of evil is a method to prepare for and to resolve dissonances in a "universal harmony.” A counterexample would be furnished by the damned. whose souls produce a dissonance on a unique note, a breath of vengeance or resentment, a hate of God that goes to infinity; but it is still a form of music, a chord - though diabolical- since the damned draw pleasure from their very pain. and especially make possible the infinite progression of perfect accords in the other souls.
>Such is the first aspect of harmony, which Leibniz calls spontaneity. The monad produces accords that are made and are undone, and yet that have neither beginning nor end, that are transformed each into the other or into themselves, and that tend toward a resolution or a modulation. For Leibniz even the diabolical accord can be transformed. It is because the monad is expression; it expresses the world from its own point of view (and musicians such as Rameau forever underscore the expressive character of the chord). Point of view signifies the selection that each monad exerts on the whole world that it is including, so as to extract accords from one part of the line of infinite inflection that makes up the world.
>Thus the monad draws its accords from its own depths.
Joseph Taylor
4/5
>There exists a second aspect of harmony.
>Spontaneity is tantamount to the production of each monad's inner accords on its absolute surface. Concertation amounts to the correspondence according to which there can be no major and perfect accord in a monad unless there is a minor or dissonant accord in another, and inversely. All combinations are possible without there ever being same accord in two monads. Each monad spontaneously produces its accords, but in correspondence with those of the other. Spontaneity is the inner or sufficient reason applied to monads. And concertation is this same reason applied to spatiotemporal relations that follow from the monads. If space-time is not an empty area, but the order of coexistence and the succession of monads themselves, the order has to be marked out, oriented, vectored; in the instance of each monad movement has to go from the more-clear monad to the less-clear monad, or from the perfected accord to the less-perfected accord, for the clearest or the most perfected is reason itself. In the expression "preestablished hamony," "preestablished" is no less important than "harmony." Harmony is twice preestablished: by virtue of each expression, of each expressant that owes only to its own spontaneity or interiority, and by virtue of the common expression that establishes the concert of all these expressive spontaneities. It is as if Leibniz were delivering us an important message about communication: don't complain about not having enough communication, for there is always plenty of it. Communication seems to be of a constant and preestablished quantity in the world, akin to a sufficient reason.
Isaiah Gutierrez
I like reading deleuze sometimes but whenever I'm in a more analytic frame of mind I just can't stand this shit. he's not interested in educating people with his writing, he's showcasing a method of thinking. In my better moods I can play with him, but when I'm feeling more sober I think he's a posturing cunt, I'll read something like the passages OP posted for 5 min only to realize he's making a very simple point and he didn't have to be so fucking french about just saying it
Hudson Butler
5/5
>The question always entails living in the world, but Stockhausen's musical habitat or Dubuffet's plastic habitat do not allow the differences of inside and outside, of public and private. to survive. They identify variation and trajectory, and overtake monadology with a "nomadology." Music has stayed at home: what has changed now is the organization of the home and its nature. We are all still Leibnizian, although accords no longer convey our world or our text. We are discovering new ways of folding, akin to new envelopments, but we all remain Leibnizan because what always matters is folding, unfolding, refolding.
i have no idea why i decided to post this
Alexander Hernandez
>i have no idea why i decided to post this
God made you do it.
Blake Jackson
if that's the case then god is a cool motherfucker and i take back all the mean things i said about him
