The Fold and the Baroque

Deleuze borrowed Leibniz's concept of the "monad" in developing his own concept of the "fold." Leibniz presented the monad as a simple substance that constitutes composites and has no extension. The dynamics and perspectivism of monads are further elaborated in Deleuze's thinking on folds. The fold is not only a folding within the monad, but also a folding between monads, which is external.The fold is constantly extended, and extension does not signal the demise of the fold, but rather its constant changing. It is here that Deleuze finds common ground between the Baroque and folds, and he uses folds to define the Baroque. The Baroque refers not to an essence but rather to an operative function, to a trait:it endlessly produces folds. The key to folds and the Baroque is the bend:the bend is the core, and is constantly being generated. The bending characteristic of folds in Baroque art not only lends fluidity and vitality to paintings, but also strengthens Baroque architecture's visual impact on the viewer. The light in Baroque artworks reflects the folding characteristics of folds. The folding relationship of light and shadow not only gives the picture a sense of space, but also symbolizes the folding of the soul and body. Finally, Deleuze believes that each monad shows the universe from a different side. This view is a transformation from center to point of view, which erases the distinction between the center and the edge, constituting the new harmony of Baroque art.