A chief characteristic of the sculptures of Baroque artist Johann Georg Pinsel are the exaggerated folds, which will remind the hipster intellectual of Gilles Deleuze´s book about Leibniz and the Baroque; indeed, one of the coolest parts of The Fold. Leibniz and the Baroque is when Deleuze uses his immersive, empathetic language to write about Baroque clothing and why the folds Baroque clothes crinkle are metaphysically connoted (in the opening of the final chapter, A New Harmony).
Deleuze´s main philosophical endeavour may be how to think the many facettes of the univocal one; put in other words he is the thinker of metaphysical confusion. Hence the dynamics between the virtual and the actual (as opposed to Platonism) and the notion of difference and non-identity at the core of every thing, respectively being itself as difference in itself and non-identical to itself, enabling productive dynamics of an open flux, which becomes tangible via the competent, productive agent (alongside Deleuze´s empiricism/Heideggerianism which assumes the subject and his modes of cognition and his modes of being affected as interrelated and elastic (and corruptible) to the dynamics of the outside world, respectively to the outside „forces“). Deleuze thinks that being is essentially composed of relations (i.e. network-like) and via his intellectually mobile concepts Deleuze „puts metaphysics in motion“. He makes us think being in itself is something that is colourful, catchy and cool.
The Fold is a concept Deleuze already used to greater extent in his preceding book about Foucault, refering to ——– but I seem to find out that, despite having planned to write this note since last week and having read and prepared myself a lot to do that, I am not particularly in the mood for doing so now – but I want it to go out now since this weekend the Pinsel exhibition at the Winterpalais, to which this note refers to and is dedicated to, is running out and I want to remind people of it and I want them to visit it. Apart from that I should write an article about Scelsi, Leifs and Ustvolskaya for the Versorgerin this weekend. Also this Pinsel-Deleuze note was considered to be followed by notes about Deleuze and Ranciere and Leibniz and Whitehead (which also annoys me a bit since my main objective is to write about artists now).
Deleuze is likeable because he is the quintessential thinker of the productive mind, unfolding and appealing to us via his erotic, ecstatically faltering language and he is a considerable metaphysicist since he also is aware that the universe is, in reality and at large, quite full of shit and of not happy, flamboyant productiveness; that, qua difference and repetition, being is inherently unstable and nothing that actually comforts, protects and conceals; that like enlightenment catastrophe may be the actualisation of the virtual (despite not putting a lot of emphasis on it due to his sovereign, optimistic personality). I made the plan to go through the entire Deleuze again and to write about Deleuze and metaphysics, as I plan to do it with the entire Nietzsche and some other stuff somewhere rather sooner than later, in a general Heideggerian attempt to establish Lichtung. I don´t know whether I will have any message for humanity to deliver or something commonly labelled as wisdom. Maybe one day this century will be called Yorickesque.