The Fold Author(s): Gilles Deleuze and Jonathan Strauss Reviewed work(s): Source: Yale French Studies, No.

80, Baroque Topographies: Literature/History/Philosophy (1991), pp. 227-247 Published by: Yale University Press Stable URL: http://www.jstor.org/stable/2930269 . Accessed: 29/02/2012 04:20
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GILLES DELEUZE

The Fold*

MATERIAL COILS1 The Baroquedoes not refer to an essence,but rather to an operative It endlessly to a characteristic. createsfolds.It does not infunction, ventthe thing:thereare all the foldsthatcome from the OrientGreek, Roman, Romanesque, Gothic,classicalfolds.... Butit twists and turnsthe folds,takes themto infinity, foldupon fold,foldafter The characteristic fold. oftheBaroqueis thefold thatgoeson to infiniit differentiates them along two lines, ty.And fromthe beginning as iftheinfinite hadtwolevels:thecoils of to twoinfinities, according andthefolds in thesoul.Below, is amassedaccording to matter, matter an initialtypeoffold, thenorganized to a secondtype, insoaccording faras its partsconstitute foldedand moreor less organs"differently ofGod byrunning developed."2 Above,thesoul singstheglory along in entirely itsownfolds, though without succeeding developing them, "for theyreachintotheinfinite." ("Monadology," ? 61, in Philosoph* Withthepermission ofGillesDeleuze and Georges Inc. Borchardt, 1. Deleuze distinguishes, not entirely betweenthe "replis"of inconsistently, organic matter and the "plis" of the organic."Pli" and "repli"bothhave a primary meaning of"fold" andareotherwise theform ofthelatter largely synonymous, although Anintroverted is furthermore sur suggests an ideaofrepetition. person saidtobe "repli6 soi," andtheword "repli" ofturning orinvaginaconsequently hasa connotation inward, I havetranslated tion.To maintain a distinction inEnglish, "pli"as "fold" and "repli" as "coil,"sincethelatter evokes themovements as replis ofa reptile (referred to in French butnotplis),theidea offolding in on oneself andthesprings whichDeleuze [ressorts] saysunderlie Leibnizian matter. -Translator'snote. 2. "A New System oftheNatureand theCommunication ofSubstances," ? 7, in Gottfried Wilhelm vol. 2 trans. and ed. and Leibniz, Philosophical Papersand Letters, introduction by LeroyE. Loemker (Chicago:University of ChicagoPress,1956),743. Hereafter citedin thetext. ed. Timothy YFS 80, BaroqueTopographies, Hampton, C 1991byYale University.

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ofNature 1055,and cf.,also "The Principles ical Papersand Letters, is saidtobe ? 13,1040-41).A labyrinth andofGraceBasedOn Reason," because it has manyfolds.The multipleis etymologically, multiple, not merelythatwhich has manyparts,but thatwhich is foldedin thelabyto a labyrinth: perfectly manyways.Each levelcorresponds thelabyrinth of anditsparts, content ofmatter rinth ofthecoextensive vol. 1,404-10). If ("On Freedom," in thesoul anditspredicates liberty it is because,unawareofthe them, Descarteswas unableto reconcile he tried the of tofind content's matter, and curvature soul'sinclination secret in a rectitude of linesandliberty's alongstraight secret running is neededwhichwould both enumerate the soul. A "cryptography" andreadin the thesoul,see intothecoilsofmatter anddecipher nature foldsofthe soul.3 betweenthe two levels It is certainthatthereis communication risesup intothesoul).Therearesouls below(whichis whycontent animal,open to sensation-or evenbottomlevels in souls, and the that them, envelopthem.Whenwe discover surround coils ofmatter totheoutside, we willneed,at leastatfirst, soulscan haveno windows to the souls above,the rationalsouls, to thinkof this in reference level ("elevation"). It is theupperlevel whichhave risento the other or study, furnished a darkened compartment window: has no which likethebottom layer cloth"diversified byfolds," onlywitha stretched set up on the opaque ropes,or springs of skin exposed.These folds, which but an innateknowledge innateknowledge, cloth represent For matter. the latter unleashes called action when into upon by passes oftheropesby at thelowerextremity the "vibrations or oscillations" whichdo existon the lowerlevel.It is a means of "small openings" thelower level, whichLeibnizsetsup between Baroqueapparatus great but in sealed and sightless piercedby windows,and the upperstory, audiblethe box whichwouldrender like a sounding return resonant, below.4 It will be objectedthatthis visiblemovements comingfrom butrather thelimitofhis ofLeibniz'sthought, text is notan expression
cf., the keyto an enveloped thing," as the "artof inventing 3. On cryptography in6ditsde Leibniz:Exin Opusculeset fragments "De ArteCombinatoria" Fragment (Paris: ed. Louis Couturat de Hanovre, Royale de la Bibliotheque des manuscrits traits ed. Locke,New Essayson Human Understanding, Les BellesLettres, 1934),563; John Press, Bennet University andJonathan Cambridge (Cambridge: Remnant Peter andtrans. Hereafter vol. 4, chap.17,? 8: thecoils ofNatureand the "abstracts [abr6g6s]." 1981), citedin thetext. NewEssays,144-45.In thisbook,Leibniz"reworks" Leibniz, Wilhelm 4. Gottfried to byLocke,butnotthe has beenreferred compartment Locke'sEssays;thedarkened citedin thetext. Hereafter folds.

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withLocke. That does not hinder it in the least possibleagreement aswhatLeibnizwill continually a wayofrepresenting from offering between thetwolevels, evena communication sert:a correspondence, between thecoils ofmatter and thefolds thetwolabyrinths, between And the same image-of in the soul. A foldbetweenthe two folds? sometimes veinsofmarble-is appliedto bothin different contexts; the living which surround the veins are the twistedcoils of matter is likean undulating in a block,so thata bankofmarble beings caught theveinsaretheinnateideas in thesoul, lake fulloffish.Sometimes in a blockofmarstatuescaught orthepotential like thebentfigures in twodifferent is marbled, and thesoul is marbled, ble. Matter ways.

?d..4.'

hi

~C

The BaroqueHouse-(allegory) witha 'clothdiversified a closed,private byfolds'/common draped room, [diagram: thefivesenses] roomswith'a fewsmallopenings':

Wolfflin has noteda certain number ofmaterial of characteristics the Baroque: the horizontalextensionof the bottomsections,the ofthepediment, theforward movement oflow,curved steps; lowering of the lines, the substitution angles and the avoidanceof straight to roundedacanthusforthe jaggedacanthus,the use of travertine or the elaboration of a whorlthat cavernous forms, producespongy,
feeds endlessly on new turbulencesand ends only in the way a horse's mane or wavefroth does; the tendencyof matterto overflowspace, to the treatmentof matterby masses or aggregates,the rounding offof

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be reconciled withfluidity, at the same time thatthe watersthemselvesdivideintomasses.5 It is Huyghenswho developsa Baroque mathematical physics whose object is the curve.And with Leibniz,the curvature of the in accordance withthree other universe extends fundamental notions: of bodies,the spring of matter, the elasticity as mechathe fluidity nism. In the first place, it is certainthatmatter would not of itself line: it wouldfollow thetangent movein a curved (Preface to theNew is, as it were,compressed byan activeforce Essays).But theuniverse orswirling movement tomatter, whichgivesa curvilinear to following And the infinite its end a curvewithno tangent. divisionofmatter ofmatter force relateseachportion to its meansthatthecompressive to thesurrounding whichbatheandpenetrate the surroundings, parts its curvature. the bodyin question, determining Ceaselesslydividing, form littleswirlswithin a swirl, and in themthere are partsofmatter intervals smaller oftheswirls other, ones,andstillmorein theconcave Matter thusoffers a texture thatis infinitely whichtouchone another. orcavernous without sincethere is thatis spongy porous, empty parts, however small it maybe, alwaysa cavernin the cavern:each body, insofar as it is perforated and contains a world byuneven passageways, and penetrated subtlefluid, theworld, surrounded byan increasingly in whichthereare different was like a "pondofmatter currents and waves" ("Letterto Des Billettes, December 1696,"Philosophical Pavol.2, 772).It is not,however, persand Letters, to be concluded thatin thesecondplace eventhesubtlest matter is perfectly fluidand losing in accordance witha thesisthatLeibnizattributes thereby its texture, in Descartes's whichonefinds toDescartes.Itis undoubtedly mistake, thattherealdistinction variousareas,to have thought between parts an absolutefluidis precisely the entailedseparability; what defines theseparability orcohesion, thatis to say, ofthe absenceofcoherence andpassivematter whichis onlyapplicableto an abstract parts, (Leibin Opusculesetfragments, 486. AndNew niz, "Tablede definitions," to Leibniz,two truly Essays, 2, chap. 23, ? 23, 222-23). According as is shownnotonlyin the distinct can be inseparable, partsofmatter the curvilinear moveactionofthe surroundings-which determine whichdetermines mentofa body-but also bytheambient pressure, of its parts. its hardness(coherence, cohesion)or the inseparability ofhardness as well One wouldthushaveto saythata bodyhas a degree theelasticforce of orthatitis essentially as a degree offluidity, elastic,
5. Cf., Heinrich Wolfflin, Renaissance andBaroque, trans. Katherine Simon(Ithaca: CornellUniversity Press,1984).

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bodies being the expression of the active compressive forcewhich on matter-oncea boatreaches a certain works speed,a wavebecomes of an absolute as hard as a marblewall. The atomistichypothesis hardness andtheCartesian hypothesis ofan absolute fluidity converge all themoreeasilybecausethey sharethesame error, positing separable minima,eitherin the form offinite bodies,or,infinitely, in the form line as thesiteofthesepoints, ofpoints(theCartesian thepunctual analyticequation). in an extraordinary Thisis whatLeibnizsetsforth text:a flexible or elasticbodystillhas coherent whichform a fold, withtheresult parts do notseparate intoparts thatthey ofparts, butrather divideinfinitely into smallerand smallerfoldsthatalwaysretaina certaincohesion. Whatis more,the labyrinth of continuity is not a line whichwould dissolve intoindependent likesandflowing ingrains, butis like points, a piece of fabricor a sheet of paperwhich dividesinto an infinite numberof foldsor disintegrates into curvedmovements, each one determined ortheparticipation bytheconsistency ofitssetting. "The divisionofthecontinuous as thatofsand oughtnot to be considered intograins, butas thatofa sheetofpaperorofa tunicintofolds, in such a waythattherecan be an infinite number offolds, one smallerthan into pointsor minima" the next,withoutthe bodyeverdissolving ("PlacidiusPhilalethi," Opuscules,614-15). Alwaysa foldwithinthe like a cavern withinthecavern. The unitofmatter, thesmallest fold, elementof -thelabyrinth, is the fold, not thepoint,whichis nevera oftheline.Thatis whythepartsofmatter butonlyan extremity part, aremassesoraggregates, as corollary to thecompressive elasticforce. The unfold is thusnot the oppositeofthe fold,but followsone fold twistedintofolds," and whicha "contrary untilthe next."Particles toDes Billettes," effort andchanges changes again"("Letter 773).Folds ofthewinds, andthesubterranean offire andtheearth, folds oflodesin can be attributed themine.The solidcreasesof"natural to geography" theinitialactionoffire, followed on the bythatofthewindsandwaters earth in a system ofcomplex andlodesarelikethecurves interactions; ofconic sections, now in a circleor an ellipse,now extending ending Material intoa hyperbola ora parabola.6 science,theJapanese philosohas as itsmodel "origami," ortheartofthepaperfold. pherwouldsay,

6. G. W. Leibniz,"Protogaea," Opera Omnia, ed. L. Dutens (Geneva:Fratres de Tournes, vol. 2. 1768),

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Monads "haveno windowsbywhichsomething might enter or leave have "neither holesnordoors."7 Ifwe do nottry to reacha them," they preciseunderstanding ofthesituation, we runtheriskofunderstanding it too abstractly. A picturestill has an external model,is still a readermightcall to minda filmshownin the window.The modern dark, butthefilm was nonetheless shot.Is one thentoimagine numerthat haveno model, theproducts ofa calculation? ical images, Ormore whichworksfora surface, as we a line ofinfinite simply, inflection, find in theworksofPollockorRauschenberg? It has in factbeen said thatwith Rauschenberg the picture's surface is no longera window ontotheworld butbecomesan opaquetableofinformation on whicha In place ofthepicture/window line is inscribed.8 numbered thereis the table on whichare inscribed substituted tabulation, lines,numLeibniz ceaselesslydraws bers,changing characters (object-matter).9 the interior up linear and numericaltables with which to furnish surfaces of the monad.In place ofholes thereare folds.Againstthe is opposed the pair city/informationsystemwindow/countryside table.'0The Liebnizian monadwouldbe sucha table, orrather a room, It an apartment coveredwith lines of variableinflection. entirely wouldbe thedarkroomoftheNew Essays,furnished witha stretched folds. The essential clothdiversified bymoving, living pointaboutthe it drawseverything monad is that it is background: fromthis,and comesfrom outsideand nothing nothing goes outside. In thisrespect, there is no need to refer to overly modern developas theyaid in understanding whattheBaroque ments,exceptinsofar was. Fora longtimetherehave been placeswhere enterprise already whatis on view is inside:thecell,thesacristy, thecrypt, thechurch, orprint collection. These aretheplaces thetheater, thereading-room, in order to drawfrom themtheir whichtheBaroqueprivileged power
1700,Philosophischen to Princess Sophie, June 7. Leibniz, Monadology, ? 7; Letter vol. 1, 554. Schriften, Press,1972): "the 8. Leo Steinberg, OtherCriteria, (New York:Oxford University flatbed picture plane." is a neologism basedonthemodelofsubjecapparently 9. Objectile[object-matter] such as canvas,board, wall,thatunderlies a support, tile,whichmeansthe material painting.-Translator's note. and theimportance cf.,Lewis ofthecityin theBaroque, 10. On theBaroquecity, Braceand Co., 1938)and Severo The Culture Mumford, ofCities(NewYork:Harcourt, in Ensayos sobreel Barroco (Mex"El Caravaggio generates Sarduy, /la ciudadbarroco" 1987),179-82. ico: Fondode CulturaEcon6mico,

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the darkroom has only a small, high opening, At first, and glory. thesecondof twomirrors, through enters, passing through whichlight the whichis tiltedto followa page,ontowhichthelightwill project Thencomethetransformational thataretobe drawn."I unseenobjects whichadornwalls: all decors, paintedskies,all typesoftrompe-1'eil is there Finally, and objectsarein trompe-1ceil. themonad'sfurniture where penetrates light idea ofa roominblackmarble, thearchitectural twistedthat they allow not the orificesso artfully only through orcolorthedecorations oftheoutsidebutilluminate glimpse slightest in thissense,inthe it not which, Baroque spirit ofa pureinside (is It is impossibleto abbey?). spiresLe Corbusierin the La Tourette the Leibnizianmonad,and its systemof light/mirror/ understand themto Baroque withoutrelating decoration pointof view/interior whoseglancing setsup chapelsand chambers The latter architecture. One of inhabitants. invisibleevento their openings lightcomesfrom windowless withits secret, acts is the Studioloin Florence, its first thanan atom:a roomwith room.The monadis a cell,morea sacristy whereall actionsareinternal. doornorwindow, neither without an interior of the interior, The monad is the autonomy an ofthefacade, theindependence exterior. Yetit has as a correlative It-the facade-can have doors and winexterior withoutinterior. as an empty thereis no such thing dows,it is fullofholes,although morethanthesiteofa moresubtlematter. space,a holebeingnothing the openand evenclose onlyfrom The doorsand windowsofmatter suggests already matter organic outsideand on theoutside.Naturally, and never an interiorization, but a relativeone, alwaysin progress but thatwhichis living, a foldrunsthrough Consequently, complete. ofthe monad the absoluteinteriority in such a waythatit separates into the metaand the infiniteexteriority of matterrespectively physicalprincipleof life and the physicallaw of phenomena.Two divisionof exteriority infinite sets whichnevermeet: "The infinite toleavethe extends andremains open,so thatitis necessary endlessly is completely the contingent thephenomenal, the natural, physical, it is not iteration ofopenchains:in thisrespect intotheinfinite flung a andbrings lies beyond, The realmofthemetaphysical metaphysical. pointwhichinfinite close to theiteration . .. themonadis thatfixed
Camera in SarahKofman, at Gravesande, obscure" 11. Cf.,"L'Usagede la chambre obscura(Paris:Galilee,1973),79-97.

exterior and posit a punctual, interior unity....

The realm of the

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never attains and which closes offinfinitely divided partitioning can be defined space."'2 Baroquearchitecture by thatscissionofthe and theexterior, theautonomy of facadeand theinside,oftheinterior in sucha way oftheexterior effected andtheindependence theinterior theother. thateach one setsoff Woifflin, too,said thisin his ownway, the contrast betweenthe aggravated languageofthe ("it is precisely ofthe interior whichconstitutes facadeand the serenepeacefulness effects thatBaroquearthas on us"),although one ofthemostpowerful in thinking decoration ultimatehe is wrong thattheexcessofinterior is peacefulin or thatthe absoluteinterior ly obscuresthe contrast, theBaroqueby the scissionbeJean itself. Similarly, Roussetdefines he too believesthatits tweenthe facadeand the interior, although the interior. remains decoration risks "exploding" Still,the interior ormirror whenviewed from theperspective unified imposed perfectly Betweenthe on the viewerby the decoration, however complicated. oftheinsideandthe between thespontaneity interior andtheexterior, is needed, oftheoutsidea newmodeofcorrespondence determination to pre-Baroque architects: "Whatdione whichwas totally unknown is therebetween theinterior ofSaintrectand necessary connection from the and facade? ... Far to the its structure, Agnes beingadapted has a tendency to express butitself," while,for Baroquefacade nothing remains its part, theinterior fallsbackon itself, sealed,tendsto offer from a singleviewitself to theviewer who discovers it in its entirety in whichtheabsoluteresides."'3 point,as a "jewel-box The newharmony first ofall, bythedistincwill be madepossible, as it resolvestensionor distion betweenthe two stories,insofar tributes whichis charged withthefacade, scission.Itis thelower story and whichextends whichcurvesback in accorbypuncturing itself, coils ofa heavymatter, dancewiththedeterminate thereby constitutIt is theupper ing an infinite reception room,or roomofreceptivity. an interiority withoutexterior, storythat is closed, a pure interior lined in spontaneous foldswhich are now sealed in weightlessness, the Baroqueworld,as onlythose ofa soul or a spirit. Consequently, a sinking Wolfflin to two vectors: has shown,is organized according downward and an upward the coexispull. It is Leibnizwho permits
Le systeme de France, de Leibniz(Paris:PressesUniversitaires 12. MichelSerres, 1968),762. etlepaon (Paris: J. del'age baroqueenFrance: Circ6 La Litt6rature 13. Jean Rousset, (Paris: J. Corti, et1'ext6rieur L'Intgrieur Corti,1968),168-71. And,bythesameauthor, 1976).

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tence of the heavysystem's to findits equilibrium at the tendency wherethesum ofmassescan descendno lowestpossiblepoint,there torise, thehighest ofa weightless withthetendency farther, aspiration system, tothat placewhere soulsaredestined tobecomereasonable, as in a painting The factthat one is metaphysical by Tintoretto. and and concerns concerns thesoul,and thattheother is physical bodies, does not prevent the two vectors from composing one and the same one and thesame house.Andnotonlyarethey off as world, separated and realizedin the functions ofan ideal line actualizedin one story other, but a higher correspondence ceaselesslyrelatesthemto each is not a constantof art or other.This kind of house architecture thispartitionthought. Whatis specifically Baroque is thisdistinction, ingintotwostories. The Platonic tradition knewa distinction between ofinnumerable a descent twoworlds. Itknewtheworld stories, tracing and a climb that confronted each otheron every step of a stairway whichlostitself in theeminence oftheOne andfellapartintothesea ofthe multiple-the stairway-universe oftheneo-Platonic tradition. But theworldofonlytwostories, separated bya foldwhichreverbeis thepreemirateson bothsidesin accordance withdifferent orders, ofthe cosnentBaroqueinnovation. It expresses the transformation mos into "mundus." Tintoretto and El Greco Amongthe so-calledBaroquepainters, Andyetthey sharethischaracteristic standout,incomparable. ofthe Baroque.The Entombment of the Count of Orgaz is, forexample, dividedin twoby a horizontal line,and belowthebodiessqueeze up one another, whileabovethesoul rises,in a thincoil,awaited against withitsownspontaneity. In byholymonadseachofwhichis endowed theworksofTintoretto, thelowerlevelshowsbodiesboweddownby and falling in the theirown heaviness, the souls stumbling, bending in contrast, theupper halfactslike a powerful coils ofmatter; magnet themstraddle theyellowfoldsoflight, the drawing themup,making folds offire thebodies, themwitha vertigo, but whichrevive infecting a "vertigo of the heights." So it is with the two halves of the Last 14 Judgement. andexterior thusrefers The scissionofinterior backto thedistinc14. RegisDebray, "Le Tintoret ou le sentiment paniquede la vie,"in Eloges(Paris: Gallimard, 1986), 13-57. (Debray criticizes Sartre for having seenonlythelower levelof Tintoretto's works). AndJean Paris, L'Espaceetle regard (Paris: Seuil,1965):theanalysis divers ofthe"ascensional space"in El Greco's works, 226-28 ("likeCartesian menthus balanceearthly gravity and divineattraction").

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to theFold,actualizedin refers butthisin turn tionofthetwostories, and realfoldsthatthe soul enclosesin theupperstory, the intimate one from andgenerated ofmatter, theinfluence ized in thecoils,under on the lowerlevel. The ideal foldis alwayson the exterior, another, and self-differentiates. thus a Zwiefalt,a foldwhich differentiates ofdifference refers to theZwiefaltas thedifferential WhenHeidegger he means above all thatthe differde la difference), (le differenciant butto a Difference origin, does notrefer to undifferentiated entiation bothsides and which and foldsback from whichceaselesslyunfolds of the back the otherin a coextensivity one by folding onlyunfolds ofthe and withdrawal ofthepresence ofBeing, unveiling and veiling on both ofthefoldis necessarily reproduced being.'5The "duplicity" and whichit sets into a mutual of the sides which it distinguishes setsoff them:a scissionin whicheachterm bydistinguishing relation intothe other. a tensionin whicheach foldis extended the other, notionofMallarmethemostimportant The foldis undoubtedly theoperatory actwhich theoperation, butrather notonlythenotion, thepoem of is already Baroquepoet.HMrodiade makesofhima great thefold.The foldoftheworldis thefan,or "l'unanimepli" [unanimofmatter theopenfanmakesall thegrains And sometimes ous fold]. thevisible whichone perceives riseand fall,ashes and miststhrough to thewaythefolds[replis] theholes in a veil,according as ifthrough oftheir "fold inflections, ofthestonein theindentation offer glimpses a thecity, butalso itsabsenceorwithdrawal, revealing fold," following armiesand hallucinatory ofdust,hollowcollectivities, conglomerate ofthesensualsideofthe itis characteristic assemblies. In thelongrun,
The notion arisesbetween Genese dupli chezHeidegger 1946and 1953, [forthcoming]). 15. AndreScala has examinedthe genesisof the foldin Heidegger's works(La

in "Moira," trans. David Farrell Krelland FrankA. especially EarlyGreekThinking, & Row, orIncident, Capuzzi (SanFrancisco: Harper 1984);it succeedstheIntermediary Zwischen-fall, whichindicated moreof a fall.It is the "Greek"foldpar excellence, Scalapoints toa commentary ofRiezler, attributed toParmenides. who,as early as 1933, in Parmenides a "folding ofbeing," "a fold oftheonein being andnon-being, found both whenhe discovers drawn intimately intoone another" (Faltung); Kurt Goldstein, himin hisunderstanding oftheliving, draws on Riezler selftobe Parmenidian (La Structure de l'organisme, [Paris:Gallimard, to Scala, 1983],325-29). Another source, according ofnew perspective, and on the methodofprojection wouldplayon problems which in Ddrer's under thenameof"zwiefalten cubum":cf., already appears works, Panofsky, TheLifeandArt Albert Princeton of Durer, (Princeton: University Press, 259: ("an 1955), method ofdeveloping in them[solids] original and,ifone maysayso,proto-topological "net"which,when cut out ofpaperand such a waythatthe facets form a coherent willform folded where twofacets an actual, three-dimensional modelof properly adjoin, in contemporary thesolidin question"). resurface Analogous problems painting.

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ofthesensualitself, to stir whichone sees and fan, up thedustthrough which betrays its inanity. But sometimestoo, fromthe other, now roses ... ce blanc vol closed,side of the fan("le sceptredes rivages ofrosy shores ... that ferme closedwhite scepter que tuposes . . ."[the the foldno longermoves toward flight which you set down... .1), a pulverization, butsurpasses itself orfinds itsfinality in an inclusion, "a heapingof thickness, offering the minisculetomb,clearly, ofthe is inseparable soul."The fold from thewind.Ventilated bythewind,it is no longer thefoldofmatter through whichone sees,butthefoldof thesoul in whichonereads,"yellow folds ofthought," theBookorthe since the set of monadwithmultipleleaves. So it containsall folds, of its leaves is infinite; but it includesthem possiblecombinations andall ofitsactions Andyet, within itsenclosure areinternal. are they not twodifferent worlds;thefoldfound in a newspaper, dustor mist, inanity, is a circumstantial foldwhichmusthaveitsown,novelmode ofcorrespondence withthebook,thefold oftheEvent, theunity which givesbeing, an inclusivemultiplicity, a collectivity thathas takenon it is notthefolds WithLeibniz, ofa fanbuttheveinsofmarble. On one handthereare all thosecoils ofmatter bywhichone sees living in themicroscope, collectivities organisms (suchas armiesandherds) thefolds ofdustswhichthey themselves stir through up,green through thedustofyellowandblue,inanities orfictions, holeswhich teeming ourlassitude, orourdullnessofspirit. feedouruneasiness, ceaselessly And then,on the other are thosefoldsin the soul,where hand,there inflection bebecomesinclusion(just as Mallarmesaid thatfolding oneno longer comesheaping): sees,onereads.Leibnizbegins usingthe theactwithin ofthemonad word"read"bothfor theprivileged region themonaditself.'6 theact ofGod throughout It is well known andfor ofLeibnizas itis ofMallarme, thatthetotalbookis as muchthedream themselves never Our error although they gaveup working fragments. lies in believing thattheydid not achievewhat theywantedto-in circumstantial letters andopuscules, thisuniqueBook, they perfected this book of monads,which could bear all dispersion as well as all The monadis thebookorreading combinations. room. The visibleand theexterior andtheinterior, thelegible, thefacadeandtheroom:they are not two different forthevisiblehas its own wayofbeing worlds,
16. Monadology, ? 61: "He whosees all couldreadin eacheverything thathappens everywhere andevenwhathashappened andwillhappen... buta soul canreadwithin itself onlywhatit represents distinctly."

consistency.

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andthelegible has itsownkind for read(likethenewspaper Mallarme), ofreading, in bothLeibnizand Mallarme). The oftheater (itstheater combinations ofthevisibleand thelegibleconstitute the "emblems" Wearealwaysbeingled thatweredearto theBaroque. ortheallegories or mutualexpression, "interback to a new kind of correspondence fold. foldfollowing expression," The Baroqueis inseparable from a new regime oflightand colors. oflight anddarkness as 1 and0, as thetwolevels One can at first think of the worldseparated by a thinline of waters:the Happy and the ofan opposition. Ifone moves Damned.17 It is nota question however in a roomwithout doororwindow, onerecognizes intotheupper story, thatit is alreadyverydark,almost lined with black, "fuscumsubin place ofthewhitechalkor This is a Baroqueinnovation: nigrum." a picture, Tintoretto and Caravagio plastergroundwhich prepared on whichthey a darkreddish-brown substitute placethedeepest shadtheshadows.'8 ontoit and shading off towards ows,painting directly the backThe statusof the painting changes,thingssurgeup from colorswell up from a commondepthwhichatteststo their ground, obscurenature, thefigures aredefined morebytheir thanby covering theircontour. But this is not in opposition to light,this is, on the contrary, by virtueof the new regimeof light.Leibniz says in the "Itslips,as though a slit Profession ofFaithofthePhilosopher: through in the midstof shadows."Is one to understand it as comingfrom a from bentorfolded basement a narrow, window, opening, bytheinter"ofa great ofmirrors, thewhiteconsisting number ofsmall, mediary Morestrictly reflective mirrors"? speaking, themonadsbeing without has been "sealed in," which lightsup in each of slits,a luminosity andwhichproduces themwhenitis raised whitethrough up toreason, The light mirrors. off but all thelittleinterior gives white, it also gives off shadowas well; it givesoff white,whichblendswiththe lighted sectionofthemonad,butwhichdarkens orshadesoff toward thedim from whichthings background, "fuscum," emerge"through well executed shadowsand hues in varying As with degreesof intensity."
17. On theLeibnizian ofbinary invention onitstwocharacters, 1 and0, arithmetic, on thelinkwiththe"Chinesefigures ofFohy," cf., Invention de larithmetique binaire, Explication de larithmetiquebinairein LeibnizMathematische ed. C. I. Schriften, A. Asher,1849-63),vol. 7. The reader Gerhardt is referred to the annotated (Berlin: edition byChristiane Discourssurla thgologie naturelle Fremont, Leibniz, des Chinois (Paris:L'Herne,1987). 18. Cf.,Goethe'sTheory of Colours,trans.and notesby C. L. Eastlake(London: Frank Cass & Co., 1967),?? 902-09.

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Desargues, itis enough toinvert ortoput"theluminous in perspective place oftheeye,theopaque in place oftheobject, and shadowin place ofprojection" pouravancer les sciences," Philosophischen ("Preceptes vol. 7, 169;New Essays,2, chap.9, ? 8).Wolfflin Schriften), stressed the lessonoftheprogressivity ofa light whichwaxesandwanes,transmittedbydegrees. Itis therelativity oflight the (as muchas ofmovement), inseparability oflightand dark, theeffacement ofcontour, in short, a rebuttal to Descartes,who remained a man ofthe Renaissance, from thedoubleperspective ofa physicsoflightand ofa logic oftheidea. Whatis lightplungesceaselesslyinto shadow.Chiaroscuro fillsthe monadaccording to a serieswhichcan be followed in bothdirections: at one end the darkbackground, at the othersealed light;the latter, whenit lights whitein thesectionsetasidefor up,produces it,butthe whitegrowsdimmer and dimmer, and deepening yieldsto darkness shadowas it spreads out towards thedarkbackground the throughout monad.Beyondthis seriesthereis on the one hand God, who commandedthattherebe light, and withit the mirror-white, but on the other handthere are shadows, an absoluteblack,whichconsistin an infinite number ofholeswhichdo notreflect therays that fallon them, an infinitely and cavernous matter spongy whichultimately consists ofall theseholes.19Does thelineoflight, orthefoldofthetwostories, pass betweenthe shadowsand the darkbackground whichit draws from them?In the finalanalysisit does,insofar as thelowerstory is nothingbut a basementhollowed out by basements,and matter, is reducedalmostto nothing. pushedaway beneaththe waters, But concrete matter is above,its holes already filled withan increasingly subtle matter, so that the foldof the two storiesis more like the commonlimitbetween twokindsoffullfolds. The entry of Germany onto the philosophical scene impliesthe wholeGerman to Nietzsche, showsitself to be soul,which,according less "profound" thanfulloffoldsand coils.20 How is one to paintthe of Leibniz the personwithoutincludingin it the extreme portrait tension an openfacade between anda closedinterior, eachindependent and bothregulated by a strange, preestablished correspondence? It is an almostschizophrenic tension.Leibnizis depicted in termsofthe Baroque. "Leibnizis moreinteresting than Kant as the typeof the German: full of noble a medieasy-going, words, sly, supple, malleable,
19. Black, thesomber background colors, white andlight are ("fuscum subnigrum"), defined in Leibniz,"Tablede definitions" in Opusculesetfragments, 489. 20. Friedrich Good and Evil,8, ? 244. Nietzsche, Beyond

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andmechanist for ator(between Christianity with, except philosophy), hidden under a mask and courenormous an his ownperson, audacity, andphilosophies offacades, butrash a goodGerman whoneedsfacades as mysterious as can be".2' The courtly and,in himself, wigis a facade, like thewish neverto shockestablished in any an entrance, feelings and theartofpresenting his system from in way, varying viewpoints, of a to the presumed such or such a mirror, according intelligence who appearsat thedoor, whilethe correspondent or ofa contradictor in on itself, lies above,turning itself System losingabsolutely nothing levelwhosesecret itholds,taking in thelower thecompromises below, or to createyetanother rather the "bestof all sides"to deepenitself whereLeibniz windows in theroomofcloseddoorsandwalled-in fold, is "alwaysthesame thinghas enclosedhimself, saying: Everything have been set aside." once the degrees ofperfection The finest thefinest commentators oftheBaroque, inventors, disthenotionthreatened mayedbythewaythat, despite them, to extend arbitrarily, have had doubtsabout its consistency. The Baroquewas thus restricted to a singlegenre(architecture), or to an increasingly restrictive determination ofperiods andlocations, orevento a radical denial.The Baroquenever existed. Still,it is oddto denytheexistence oftheBaroquein thesamewayas one deniestheexistence ofunicorns orpinkelephants. Forin thelatter case theconcept is already a given, while in the case oftheBaroqueit is a questionofknowing whether one can invent a conceptcapable(ornot)ofgiving it existence. Irregular pearls exist,but the Baroquehas no reasonto existwithouta concept whichforms thatvery reason.Itis easyto deprive theBaroque of its existence, it is enoughnot to proposeits concept.Thereis no ifLeibnizis theBaroque difference fundamental betweenwondering or ifhe formulates a conceptcapable of philosopher par excellence, bringing the Baroqueitself intoexistence. In thisrespect, thosewho have linked Leibniz and the Baroque have done so by virtueof an broadconcept,as with Knechtand the "coincidenceof excessively opposites."Christine Buci-Glucksmann proposesa much more ina dialectic andseeing[voir teresting criterion, between sight etregard], but this criterion is perhapstoo restrictive as well and would only thedefinition ofan opticalfold.22 Forus,however, allowfor thecriteri21. CitedbyErnst Bertram, 233. Nietzsche, (Rieder edition), 22. Herbert La Logique de Leibniz,essai sur le rationalisme Knecht, baroque, La Folie du voir,de Buci-Glucksmann, (Lausanne:L'Aged'homme,1981); Christine

teously importunate,modest in appearance....

Leibniz is dangerous,

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on or theoperative conceptoftheBaroqueis theFold,in its fullcomprehension and extension: foldupon fold.If one can extendthe Bait seemsto us thatit is always roquebeyond precisehistorical limits, Michauxwhen byvirtue ofthiscriterion, whichallowsus torecognize he writes"To live in thefolds," orBoulezwhenhe invokesMallarme and composes"Folduponfold," or Hantaiwhenhe createsa method Andif, on thecontrary, intothepast, outoffolding. we gobackfurther have to findthe Baroquein, forexample,Uchow might we already and to cello?Because he is not content to paintblue and pinkhorses, oflightdirected toward all thepointsofsky; drawlances like streaks he is forever drawing "mazocchi,which are circlesofwood covered withclothand placed on the head, such thatthe foldsofthe fabric, the entire when pulled back,surround face";he runsup againstthe because "thepower ofdevelincomprehension ofhis contemporaries, of all and the series folded hoods seem strange opingabsolutely things ofthe greatDomorerevealing thanthe magnificent marblefigures natello."23 Therewouldthusbe a Baroqueline,passeddownin strict together architects, accordance withthe foldand whichcould bring Of course,it could be obpainters, musicians,poets,philosophers. remainstoo broad:to speak jectedthatthe conceptofthe folditself whatperiodandwhatstylecouldfailto see in onlyoftheplasticarts, orsculpted line?Anditis notonlyclothing, butalso thefolda painted the body, line itself. defines Baltrusaitis rocks,the waters, the earth, thefoldin general byscission, buta scissionwhichcauses each ofthe anew.It is in thissense thathe two splittermsto set each otheroff foldby the scission/setting-off of the figurdefines the romanesque fold ativeandgeometry.24 Could onenotas welldefine theOriental by andfull? Andall theothers will have thescission/setting-off ofempty arenot in turn Uccello'sfolds to be defined analysis. bya comparative in geometrical remain solids,polytruly Baroquebecausethey caught however ambiguoustheymay be. If we gonal,inflexible structures, oftheBaroqueandthefold, wishtomaintain theoperative we identity mustthenshowthatin all other cases thefoldremains limited while in theBaroqueit experiences a limitless can release, whoseconditions
1'esthetique of the baroque,(Paris:Galilee, 1986): the authordevelopsa conception Baroquethatdrawson Lacan andMerleau-Ponty. 23. MarcelSchwob, Viesimaginaires, 229-31. (Paris:10/18), 24. Jurgis Baltrusaitis, Formations, deformations, (Paris: Flammarion,1986), chap.9.

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be determined. The foldsseem to take leave oftheirsupports, cloth, granite, and cloud, to enterinto an infinite competition, as in the in the GardenofGethsemane Christ ofEl Greco(theone in the Nain theBaptismofChrist, tionalGallery). Or else,notably thecounterfoldofcalfand knee,wheretheknee seemstheinversion ofthe calf, lendsan infinite to theleg,whilethepinching undulation ofthecloud
in the center transforms it into a double fan....

thatmustaccount teristics for theextreme rigorously interpreted specificity oftheBaroqueand forthepossibility ofexpanding it,without itshistorical limits:theBaroque'scontriarbitrary extension, beyond butionto artin general, Leibniz'scontribution to philosophy. the infinite workor operation. 1. The Fold: The Baroqueinvents a fold, buthowto continue is nothowtofinish The problem it,makeit Forthefoldaffects takeit to infinity. notonlyall theroof, go through ofexpression in accorkindsofmaterials, whichthusbecomematter mountains and dancewithdifferent scales and speedsandvectors (the butit also deterthewaters, papers, fabrics, livingtissues,thebrain), it makesofit a form intobeingandintoappearance, minesand brings the geneticelementor the line of formof expression, Gestaltung, thecurveofa singlevariable. infinite inflexion, The infinite foldseparates, or 2. The Interior and the Exterior: and the soul, thefacadeand the sealed room, passes betweenmatter is a virtuality the interior and the exterior. Forthe line ofinflection in itself: the soul it is realizedin ceaselessly differentiating actualized its own way in matter. It is the Baroque characteristic: an exterior It is characan interior alwayson theexterior, alwayson theinterior. andan infinite terized as an infinite "receptivity," "spontaneity"-the theinterior chambers for action.Evenup exterior facade for receiving, continuesto place two our own time Baroquearchitecture through in confrontation: a weight-bearing and a covering principles principle in Gropius orin Loos).25 The conciliation orfacing principle (whether butnecessarily ofthe two will not be direct a harmonious, inspiring in therising theline,is expressed thesamething, ofthe newharmony; or by heart, as in the extrinsic interior songof the soul, by memory ofthemusicalscore, from cause to cause. But, creation ofthematerial
25. Bernard Cache,LAmeublement du territoire.

It is these charac-

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that-the expressed does not exist beyondits the factis precisely expressions. ofthescission,or 3. The Highand theLow: The perfect harmony oftwostories, theresolution oftension, is effected bythedistribution and line to one thesameworld oftheuniverse). whichbothbelong (the The matter-facade tendsdownwards whilethesoul-chamber rises.The infinite foldthus passes betweentwo stories.But in differentiating itself, it swarms overbothsides:thefold differentiates itself intofolds, into the interior and overflow whichinsinuatethemselves onto the into the highand the low. Coils of articulating themselves exterior, foldsofthesoul whencondimatter whenconditioned byexteriority, tionedbyenclosure. Coils ofthemusicalscoreand foldsofthesong. informal art:on theground, at ground The Baroqueis thepreeminent ofmatter thetextures modern Balevel,at hand,itcomprises (thegreat from Paul Klee to Fautrier, .. Bettencourt roquepainters, Dubuffet, is notthenegation ofform; itpositsform as folded, as Buttheinformal existing only as "mentallandscape,"in the soul or the mind,at a it thusincludesimmaterial foldsas well.The kindsofmatter height; the base, but the foldedshapes are its forms. One moves constitute and terrains Fromgrounds to habitatsand from materialsto forms. to Logology. These are the two orders, the salons. FromTexturology the of their of and stories which two Dubuffet, discovery harmony, is it a texture, ora mustgo all thewayto thepointofindiscernability: Matterwhich revealsits texture befoldof the soul, of thought?26 in thewaythatform whichreveals itsfoldsbecomes comesmaterial, power.It is the pair material-power which,in the Baroque,replaces forces matter and form beingthoseofthe soul). (theprimitive ofthefold, 4. The Unfold: certainly nottheopposite noritseffaceofitsact,thecondition butthecontinuation ortheextension of ment, andbecomes itsmanifestation. Whenthefoldceasesto be represented a "method," an operation, an act,theunfold becomestheresultofthe act whichis expressed in precisely thatway.Hantai beginsby repre26. On "thetwoorders," material andimmaterial, cf., Jean Dubuffet, Prospectus et tous 6crits by HubertDamisch,(Paris:Gallimard, suivants,collectedand presented ed. Max 1967),vol. 2, 79-81. Cf.,also the Cataloguedes travauxde jean Dubuffet, Loreau(Paris:Minuit,1964): "Tablespaysagees, paysages du mental";and "Habitats, Closerie Falbala, Salond'ete"(theLogological cabinet is a veritable interior ofa monad).

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theclothorpaper. senting thefold-tubular, teeming-butsoonfolds Then there are,as it were,twopoles,theone ofthe "Studies"and the is locallyand irregularly the surface one ofthe "Tables."Sometimes, folded, andtheexterior sidesoftheopenedfoldarepainted, so thatthe theunfolding cause thefields ofcolorand theopening, spreading-out, one with the other. the zones of white to alternate, modulating At itsinternal other it is thesolidwhichprojects times, planesontoa flat in accordance folded withtheedges:nowthefold has surface, regularly andclosedateachintersection a resting itis knotted andunfolds point, to set theinterior whiteintocirculation.27 the colorin Here,setting thelightin thefoldsofan thecoils ofmatter to vibrate, there setting to vibrate. Andyet, immaterial surface whyis it thattheBaroqueline is only a possibility forHantai?Because he neverstops running up The painted whichis thelineoftheOrient. against another possibility, andbackground, as form butas andthenon-painted arenotdistributed in a reciprocal fullness Whichis whyHantai andemptiness becoming. and onlypaintsthe sides (lineofthe leaves the eyeofthefoldempty he will happensthatin thesame region Orient);andyetit sometimes leaveanyempty makea successionoffolds whichno longer spaces(the itis profoundly oftheBaroque fullBaroqueline).Perhaps characteristic Itis already thecase with to setitself in confrontation withtheOrient. in in one arithmetics: and zero Leibniz Leibniz'sundertaking binary in a typically and emptiness Chinesemanner, but fullness recognizes the Baroque Leibniz does not believe in emptiness, which always and consequently his binary seems to him full of a coiled matter, arithmetics superposesthe folds which the decimal system,and Natureherself, concealsin apparently empty spaces.ForLeibnizand theBaroque, foldsare alwaysfull.28 5.Textures: Leibnizianphysicscomprises twoprincipal headings, or so-calledderivative, one concerning theactive, forces whichrelate to matter, theotherthepassiveforces, theresistance ofthematerial: texture to Des Bosses,August1715.Leibniz's cf.,Letter (On textures,
Marseille). lumiere, catalogue Andalso DominiqueFourcade, Un coupdepinceau (Arca c'est la pensse, catalogue, Pompidou); YvesMichaud, Metaphysique de (Paris:Centre 27. On Hantai and the methodof folding, cf.,MarcelinPleynet, Identitg de la

Hantai; catalogue Genevieve Bonnefoi, Hantai;Paintings, Watercolors (Venice): 19711975 (New York:Pierre Matisse,1975). 28. Leibnizcounted on his binary arithmetics to reveal a periodicity in thenumber series(a periodicity whichNatureperhaps concealed"in its coils")as well as forthe primary numbers (NewEssays,4, chap.17,? 13).

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interest in problems oftheresistance testifies to a consistent physics is bestrevealed, ofmaterials). It is perhaps at itslimitthattexture just is no longer before or tearing, whenspreading rupture opposedto the foldbut expresses with a Baroque it in its purestate,in accordance figure indicatedby Bernard Cache (hysteresis morethan spreading). andhole; it doesnotbelongto Hereagain,thefold pushesbackgroove the same pictorialvision. As a generalrule,it is the way in which matter

foldsthatconstitute itstexture: it is defined less byitsheterogeneous andgenuinely distinct thanbythemanner in which, parts byvirtue of particular folds,thesepartsbecomeinseparable. Fromthatone gets theconcept ofMannerism initsoperatory relation totheBaroque. And thisis whatLeibnizwas talking aboutwhenhe referred to "paperor tunic." folds initsownway, Everything theropeandthestickas wellas which in colors, out accordance separate withtheconcavity orconvexityoftherayoflight, and sounds, whichrisein pitchin accordance as "thetrembling parts areshorter andtighter." Texture thusdepends not on thepartsthemselves, buton thestrata whichdetermine their"cohesion": the new statusofthe object,its object-matter [objectile], is inseparable from thevariousstrata whichdilate,like so manyopportunities fordetours and coils. Relativeto thefoldswithinits power, matter becomesmatter In thisrespect, ofexpression. thefoldofmatter or texture mustbe seen in relation to several ofall light, first factors, thewayin whichthefoldcatcheslight, thewayit varies chiaroscuro, to thetimeofdayand thesortofillumination according (thecontemresearch ofTromeur porary andNicole Grenot). Butalso in relation to depth:how thefolditself determines a "shallowdepth" whichcan be superposed. Here,thepaperfolddefines a minimum ofdepthon our scale, as is seen in theBaroquetrompe-1ceil letter holders, wherethe ofa dog-eared representation cardthrows whatlies on thisside ofthe wall intodepth.So it is withthesoftand superposed depthoffabrics whichhas servedas an unending to painting and which inspiration HelgaHeinzenhas,in ourtime, carried to a newpower when,thebody to absence,the representation of striped consigned and foldedcloth coversan entirepainting in fallsand elevations, in swells and suns, a linethatcomes,thistime, following from Islam.Or againthetheater

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in its spread-out ofmaterials, hardened whena material caught, state in itself oritshysteresis, can assumea felicity ofexpression thefolds of ofRenonciat, another matter, as in thewoodsculptures wherecedarof orParafia Lebanonturns intoplasticdrop-cloth, pineinto "cotton and In short, thewayin whichall thesetextures ofmatter tend feathers." toward a higher point,a spiritual pointwhichenvelopsform, which ofthematerial holdsit enveloped andwhichalonecontains thesecret thatthey folds below. Where do theselatter flow from, given cannotbe accountedforby the constituant partsand thatthe "teeming," the ofcontours, comesfrom theprojection onto perceptual displacement of a fantasmagoria on the orderof matterof something spiritual, in another as Dubuffet thought, says. Though way, the sculptor nonetheless treadsan analogouspathwhen he movesfrom Jeanclos and crimped leavesofcabbage, theinfinitely coiled,knotted, physical or from sheetsinfinitely spreadout, to metaphysical peas, spiritual to theexpression ormonadheadswhogivefullmeaning sleepers "the thederivative forces ofmatter folds ofsleep".29 Activeorpassive, refer thoseofthesoul. Alwaysthetwostories, backto theprimitive forces, harmonization. and their harmony, their 6. The Paradigm:The searchfora model ofthe foldproceedsby as theOrient Is it thepaperfold, or wayofa choiceofmatter. suggests, in the Occident?The thefoldofcloth,whichseems to predominate ofthefold(the cruxofthe questionis thatthematerial components ortheform element ofexpression. mustnothidetheformal In texture) theGreekfold is unsatisfactory, itrightly thisregard to though aspires thepower in thehighest ofthoughtcurrency realms, political power, ofweavingas a mesh remainson the level of the Platonicparadigm ofthefold. butdoesnotdrawouttheformal elements Forthe textures as thePoliticsandtheTimaeusdemonstrate, Greekfold, presupposes a commonmeasurebetweentwo termsthatmix and therefore opermovements whichcorrespond to therepetiates bymeansofcircular This is thereasonthatthePlatonicforms tionoftheproportion. fold, elementof the fold.The lattercan only but neverreachthe formal in theincommensurable andtheextravagant, appear withtheinfinite, when the variablecurvehas unseatedthe circle(On the presenceor
29. Jeanclos-Moss6, Sculptures et dessins, Maisonde la culture). (Orleans:

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in Philocf.,Leibniz,"On Freedom" absenceof "commonmeasure," vol. 1, 404-10). So it goes withthe Basophical Papersand Letters, ofthought andpolitstatusas power withitscorresponding roquefold, ical force. Strauss -Translated byJonathan