褶子 the Fold

褶子是一个由法国哲学家吉尔·德勒兹（Gilles Deleuze）创造的概念，用来描述世界的无限复杂性和变化性。德勒兹借鉴了17世纪德国哲学家莱布尼茨（Leibniz）的单子论和巴洛克（Baroque）艺术风格，提出了褶子作为世界最小单元的理论。

Deleuze's fold is a concept that he develops in his book  Le Pli. Leibniz et le Baroque , where he explores the philosophy and aesthetics of Leibniz and the Baroque period. The fold is a way of thinking about the production of subjectivity, multiplicity, difference and complexity in a world that is composed of infinite monads, or simple substances, that express the whole universe from their own perspectives. Deleuze argues that Leibniz's work constitutes the grounding elements of Baroque philosophy of art and science. Deleuze views Leibniz's concept of the monad as folds of space, movement and time. He also interprets the world as a body of infinite folds that weave through compressed time and space.

The concept of the fold is influenced by Leibniz's philosophy, especially his metaphysics, logic and ethics. Deleuze draws on Leibniz's notions of expression, sufficient reason, incompossibility, pre-established harmony, theodicy and monadology to construct his own theory of difference and repetition. Deleuze also reads Leibniz through Spinoza, another major influence on his thought, and contrasts their views on substance, modes, attributes and affects. Deleuze acknowledges Leibniz as a "pure metaphysician" who tried to develop a metaphysics adequate to modern science and mathematics, but he also criticizes him for his theological conservatism and his inability to affirm divergence and multiplicity.

Deleuze's purpose in engaging with Leibniz is to create new concepts that correspond to the artistic practices of the Baroque period and to contemporary problems of philosophy. Deleuze considers himself an empiricist and a vitalist who seeks to liberate philosophy from the hegemony of one perspective. He uses Leibniz's concept of the fold as a tool to think creatively about the possibilities for non-human forms of subjectivity and to challenge the dominant models of representation, identity and recognition. He also uses the fold as a way to connect with other philosophers, artists and writers who share his interest in expression, difference and multiplicity.

The concept of the fold has had an impact on both philosophical and non-philosophical fields. Deleuze's work has been cited by and put to use by researchers in architecture, urban studies, geography, film studies, musicology, anthropology, gender studies, literary studies and other fields. The fold has also inspired artistic creations such as paintings, sculptures, installations, performances and digital media. However, Deleuze's work has also faced criticism from various perspectives. Some critics have accused him of misinterpreting or distorting Leibniz's philosophy, others have questioned his method of reading other philosophers or his style of writing, and others have challenged his political or ethical implications.

The current mainstream academic view on Deleuze's fold is not easy to determine, as there are many different approaches and interpretations of his work. However, some possible trends can be identified. One trend is to situate Deleuze's fold within the broader context of his philosophy of difference and repetition, and to examine its relation to other concepts such as event, virtuality, intensity, singularity and becoming. Another trend is to explore the connections between Deleuze's fold and other thinkers or movements that influenced him or were influenced by him, such as Spinoza, Nietzsche, Bergson, Foucault, Guattari, Derrida, Lyotard, Badiou, DeLanda, Massumi and others. A third trend is to apply Deleuze's fold to various domains of practice or research such as art, science, politics, culture or ecology.

德勒兹在他的《褶皱：莱布尼兹与巴洛克》一书中，对莱布尼兹的哲学和美学进行了深入的探讨，但他并没有完全遵循莱布尼兹的神学前提。德勒兹承认莱布尼兹是一个“纯粹的形而上学家”，试图发展一种适应现代科学和数学的形而上学，但他也批评莱布尼兹的神学保守主义和他无法肯定差异和多样性的倾向。

德勒兹对莱布尼兹的神学有意忽视或曲解主要表现在以下几个方面：

• 德勒兹将莱布尼兹的单子论解释为一种空间、运动和时间的褶皱，而不是一种对上帝创造的完美世界的反映。德勒兹认为，单子不是上帝的镜像，而是具有自己的表达力和创造力的实体。他也认为，世界不是一个预先确定的和谐秩序，而是一个由无限的褶皱构成的复杂网络，其中存在着冲突、变化和创新。

• 德勒兹有意忽略了莱布尼兹的神义论，即上帝为什么选择了这个最好的可能世界，并为其中发生的一切恶行提供了正当理由。德勒兹认为，莱布尼兹的神义论是一种对现实的辩护，是一种对差异和多样性的压制。他也认为，莱布尼兹的神义论是一种对自己形而上学创造力的否定，是一种对自己哲学冒险精神的背叛。

• 德勒兹有意曲解了莱布尼兹的逻辑，即如何从单子中推导出复合物和现象。德勒兹认为，莱布尼兹的逻辑是一种分析性的逻辑，即从已知的真理中推导出必然的结论。他也认为，莱布尼兹的逻辑是一种同一性的逻辑，即从同质性和恒定性中推导出同一性和相似性。德勒兹有意曲解了莱布尼兹的逻辑也是一种合成性和区别性的逻辑，即从多样性和变化中推导出复杂性和差异性。