By Benedictus de Spinoza

Voici Spinoza tel qu'en lui-même : il plaisante, travaille, s'inquiète, s'enthousiasme, parfois même se fâche. Des amis proches ou des lecteurs lointains lui écrivent des questions, auxquelles il répond comme il peut. Ses réponses ne sont pas celles d'un maître dispensant son enseignement, mais celles d'un homme construisant sa pensée dans los angeles pensée des autres, avec leurs mots. On ne trouvera donc pas ici le philosophe en gloire, mais le philosophe en difficulté, embarrassé à son bureau, mordant sa plume. Et c'est lorsqu'il est parfaitement pris au piège que Spinoza écrit ses pages les plus inspirées. Pour los angeles première fois, sa correspondance est reconstituée à l'aide de tous les records disponibles et dans l'ordre chronologique : on y trouvera notamment les symptoms expédiées en urgence par Spinoza au second d'éditer son manuscrit des Principes. Le file de cette édition suggest en outre quatre textes devenus introuvables: le brouillon envoyé à Oldenburg, les notes de Blyenbergh sur l'échange oral qu'il eut avec Spinoza, les lettres de Huygens à propos du " Juif de Voorburgh ", et los angeles occupation de foi de son proche ami Jarig Jelles.

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Projection, the outlin " of the most ind finite object equal to consciousness. In this sen e, all spa c is literally ut [rorn the sam' mold . 62 THE NON-PHILOSOPHY OF GILLES DELEUZE made-to-order, or as Heidegger posited, 'ready-to-hand' (Zuhandeldt). Yet, for Leibniz, space cannot be determined from its limit (extensio) , but only by its tendency to remain indeterminate and infinite, always productive of more and more, always in surplus of its most minimal determination. Thus, the placevide is another name for the pure 'background' from which the monad will draw all its determinations in order to decipher its own obscure depth, or to distinguish itself from all the others that populate it.

For th is reason , it may even be misleading to refer to this 'image-matter' as bod y, since this would be a bod y without facade: that is, with out ob-jectu m, which bears no relation to the bod y that can become object (the oth er' s bod y, or the body as object of knowledge, or the body as component of the mass in politi cs). In th is sense ther e is an extreme disassociarion of the body from the space it occupi es, which in turn can be represented and coo rd inated with other spaces by becoming a location, a point, a numerical sign which can be easily tabulated and man ipulated by representa tio nal systems.

Vels, T he upp r level . ~s -d as imply an abocnce of olor (sin the folds in the oul arc 58 THE NON-PHILOSOPHV OF GILLES THE DELEUZE immaterial folds composed of power); while below light spreads out, becoming dimmer, invaginated by shadow (fuscum subnigrum). It is not a matter of the absence of light, but rather an excess of color , movement and depth. It is for this reason that Deleuze identifies Klee, Fautrier, Dubuffet and Bettencourt as baroque painters, since they follow the same fold, or method, of beginning with a dark canvas and adding texture, density, adding color as if through mixed media (cloth, metal, wood, hair, teeth, shit = pale mauve , rust , blond, hazel, green, brown).

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