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)
24 August 2010
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