24 August 2010

A model for creative digital scholarship.

Leibniz is endlessly drawing up linear and numerical tables. With them he decorates the inner walls of the monad. Folds replace holes. The dyad of the city-information table is opposed to the system of the window-countryside. Leibniz's monad would be just such a grid -- or better, a room or an apartment -- completely covered with lines of variable inflection. This would be the camera obscura of the New Essays, furnished with a stretched canvas diversified by moving, living folds. Essential to the monad is its dark background: everything is drawn out of it, and nothing goes out or comes in from the outside.

//Gilles Deleuze, The Fold: Leibniz and the Baroque (27)

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