Folds and folds of souls, architectures and life itself, made of synesthetic resonance. Gilles Deleuze adding to Leibniz.
Excerpts from the book “The fold. Leibniz and the baroque” by Gilles Deleuze (Éditions de minuit, 1988).
Baroque does not refer to an essence, but rather to an operative function, to a line. It keeps making folds and creases. It doesn’t invent the thing: there are all the folds from the East, the Greek, Roman, Romanesque, Gothic, classical folds... But he curves and recurves the folds, pushing them to infinity, fold after fold, fold after fold. The Baroque trait is the fold that goes on forever. And first of all it differentiates them in two directions, in two infinite directions, as if infinity had two levels: the folds in the material, and the folds in the soul. At the bottom, the matter is gathered, according to a first kind of folds, then organized according to a second kind, as long as its parts constitute organs “folded differently and more or less developed”.
It is certain that the two levels are connected. There are souls below, sensitive, animal, or even a floor below in the souls, and the folds of matter surround and envelop them.
Leibniz creates a large baroque montage, between the floor below, pierced by windows, and the floor above, blind and closed, but resonant, like a musical salon that translates into sound the movements visible from below.