The Baroque (G.W Leibniz) and the Neo-Baroque (Gilles Deleuze)

Abstract

This paper aims at trying to understand the contemporary neo-Baroque era through the historical Baroque in association with the Baroque philosopher Lebniz and the neo-Baroque philosopher Deleuze. The seventeenth century is a so-called transition, since paradigm shifts were evidently demonstrated in economics, the science, philosophy, and the arts during this period. This seventeenth century Baroque nature has revealed and recurred itself, especially, during the contemporary era of technological advancement such as the invention of the cinematic apparatus, simulation rides, theatrical experiences, a wide-screen technology, and a more successful version of audio-visuality. Reigniting the Baroque identity, the Baroque's mutation and vibration has manifested itself as the ‘neo-Baroque.' Considering the neo-Baroque entertainments in late twentieth and early twenty-first century demonstrate various (neo-) Baroque forms of expression to the audience, the seventeenth century Baroque cannot be thought to be just confined to the past. However, the Baroque and neo-Baroque nature should be distinguished respectively in that they manifest themselves in technologically and culturally different ways. In a word, the neo-Baroque embraces the classical, yet integrating its features into its own complex system. Through looking into the Baroque world, we are expected to enhance our understanding of not only this high technology era itself but also ourselves.