jueves, 23 de junio de 2011
Un Origen Cultural: Gilles Deleuze, The Folds in the Soul
“Inflection is the ideal genetic element of the variable curve of fold. Inflection is the authentic atom, the elastic point. That is what Klee extracts as the genetic element of the active, spontaneous line. It testifies to his affinity for the Baroque and for Leibniz, and opposes him to Kandinsky, a Cartesian, for whom angles are firm, for whom the point is firm, set in motion by an exterior force. For Klee, however, the point as a “nonconceptual concept of noncontradiction” moves along an inflection. It is the point of inflection itself, where the tangent crosses the curve. That is the point-fold. Klee begins with a succession of three figures. The first draws the inflection. The second shows that no exact and unmixed figure can exist. As Leibniz stated, there can never be “a straight line without curves intermingled,” nor any “curve of a certain finite nature unmixed with some other, and in small parts as well as large, “ such that one “will never be able to fix upon a certain precise surface in a body as one might if there were atoms.” The third marks the convex side with shadow, and thus disengages concavity and the axis of its curve, that now and again changes sides from the point of inflection”
Gilles Deleuze. The Fold. Leibniz and the Baroque, 1993. Chapter 2: The Folds in the Soul
Londres, The Athlon Press.
Original: Le Pli, Leibniz et le Baroque, 1993
Seleccionado por el arq. Martín Lisnovsky