It seems that Deleuze is establishing the Universe as a sort of continuum,
differentiated by folds and perhaps intensities and densities. He explains, “Development does not go from smaller to greater things through growth or augmentation, but from the general to the specific, through differentiations of an initially undifferentiated field either under the action of exterior surroundings or under the influence of internal forces that are directive.” One can already envision a sort of material infinity, made up of, say, fabric that infinitely pleats and folds upon itself. Zoom in and out and out and all we see is varying patterns of material made up of points, lines and folds.
Following this logic, in order to really make sense of all of this, in order to really gain insight from this vision of the universe, we would have to closely examine the finest element of the fabric and also the widest view of the material. We would want to look at the fold and the fabric composition and patterning at a variety of scales. We would want to look for consistencies and differences. Enter the smooth and the striated, a way of examining and comparing the points, splines and nurbs surfaces that make up the fabric of existence? Wow.
When we zoom in so far as to inhabit the fibers we see the material is composed in two ways, the smooth and the striated or the felt and the fabric. The spaces created by these two compositions are described as sedentary and nomadic. We also see that these two compositions are generally contiguous. They are not generally stitched together but are usually intertwined, as the fibers of one dematerialize or grow into the fibers of the other. As it turns out there are all sort of variations in this fabric from densities of weaving to intensities in the fibers in the felt and to patchwork integrations.
As we traveled through the material and through the universe, zooming in and out, we would also see that the smooth and striated fibers would take on many forms and create many types of space. They would create patterns like stone and water and folds like sound waves and wind. We could always zoom in or zoom out and see the folds and material consistency as related and describable as some combination of smooth and striated, nomadic and sedentary.
Traveling through the universe and through the material, Deleuze chooses to move through some of the more complex and illusive of spaces. It would be comparable to move through the physical space of table salt where cubic fibers aggregate to make the material or through the space of molecules where chemicals bond to create the material.
Instead, Deleuze moves to spaces that are more intangible and ambiguous, where the distinction between smooth and striated becomes blurry in notably more interesting. In order to show how all spaces can be thought of in this way, Deleuze starts with simple spaces, the space of fabric, the space of sound waves and then moves into more complex spaces, the space of water, the space of mathematics, the space of art.
The idea here seems to be to be to think about these phenomena and objects as spaces and intensities within and around the fabric and as part of this same universal continuum made distinct by their expression of differentiation in consistency and patterning.
Deleuze uses these spaces to describe the universe and in so doing, implicitly employs principles from mathematics to make differentiations in the patterning and consistency mentioned above. It only makes sense. If the universe can be expressed through the weaving of lines and the creation of complex systems of interconnected networks, mathematics seems like the most appropriate tool to explore and to begin to understand these universal patterns.
differentiated by folds and perhaps intensities and densities. He explains, “Development does not go from smaller to greater things through growth or augmentation, but from the general to the specific, through differentiations of an initially undifferentiated field either under the action of exterior surroundings or under the influence of internal forces that are directive.” One can already envision a sort of material infinity, made up of, say, fabric that infinitely pleats and folds upon itself. Zoom in and out and out and all we see is varying patterns of material made up of points, lines and folds.
Following this logic, in order to really make sense of all of this, in order to really gain insight from this vision of the universe, we would have to closely examine the finest element of the fabric and also the widest view of the material. We would want to look at the fold and the fabric composition and patterning at a variety of scales. We would want to look for consistencies and differences. Enter the smooth and the striated, a way of examining and comparing the points, splines and nurbs surfaces that make up the fabric of existence? Wow.
When we zoom in so far as to inhabit the fibers we see the material is composed in two ways, the smooth and the striated or the felt and the fabric. The spaces created by these two compositions are described as sedentary and nomadic. We also see that these two compositions are generally contiguous. They are not generally stitched together but are usually intertwined, as the fibers of one dematerialize or grow into the fibers of the other. As it turns out there are all sort of variations in this fabric from densities of weaving to intensities in the fibers in the felt and to patchwork integrations.
As we traveled through the material and through the universe, zooming in and out, we would also see that the smooth and striated fibers would take on many forms and create many types of space. They would create patterns like stone and water and folds like sound waves and wind. We could always zoom in or zoom out and see the folds and material consistency as related and describable as some combination of smooth and striated, nomadic and sedentary.
Traveling through the universe and through the material, Deleuze chooses to move through some of the more complex and illusive of spaces. It would be comparable to move through the physical space of table salt where cubic fibers aggregate to make the material or through the space of molecules where chemicals bond to create the material.
Instead, Deleuze moves to spaces that are more intangible and ambiguous, where the distinction between smooth and striated becomes blurry in notably more interesting. In order to show how all spaces can be thought of in this way, Deleuze starts with simple spaces, the space of fabric, the space of sound waves and then moves into more complex spaces, the space of water, the space of mathematics, the space of art.
The idea here seems to be to be to think about these phenomena and objects as spaces and intensities within and around the fabric and as part of this same universal continuum made distinct by their expression of differentiation in consistency and patterning.
Deleuze uses these spaces to describe the universe and in so doing, implicitly employs principles from mathematics to make differentiations in the patterning and consistency mentioned above. It only makes sense. If the universe can be expressed through the weaving of lines and the creation of complex systems of interconnected networks, mathematics seems like the most appropriate tool to explore and to begin to understand these universal patterns.
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