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Mapping in the Folds: Deleuze "Cartographe"Author(s): Tom ConleySource: Discourse, Vol. 20, No. 3, Gilles Deleuze: Areason to Believe in this World (Fall 1998),pp. 123-138Published by: Wayne State University PressStable URL: http://www.jstor.org/stable/41389502 .

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Mapping in the Folds:Deleuze Cartographe

Tom Conley

At the end of "Un nouveau cartographe?,"n essayon MichelFoucaultreprintednhis 1985monographon thewriter ho diedtheyearbefore,GillesDeleuze declaresthat he authorofDisciplineandPunish s ess a historian fmentalities han cartographer.hedialoguewithFoucault srepresentativef Deleuze s style f read-ing.The study f theconceptualoperations nd their xpressionsin Foucault s so intense nd detailed thatthe one author becomesthe other.Foucauls signatures retracedbut n themovement ftheretracingome differencesmerge.So too does a latent mageof a "new artographer"nthe name of Deleuze. What,we can ask,is the natureof thecartographyhat s born of thereading?Howdoes it inflect he art and science ofmaps?In his glossDeleuzeplotstheconceptual groundfor style nd fashionofspatialandmobilewritingndowed with ndissociably esthetic nd politicalelements.Now Deleuze's contributions o philosophy, ilm tudies,mu-sicologa literary heory,nd social issuesare well known nd havebecome thetopicof growing odyofresearch bout their ransver-sal virtue. hey appeal togivendisciplineswhilethey ffer otentways frethinkinghe stakesofgiventraditions.n a minorarea,cartographical heory, eleuze's writingsemainto be considered,no doubt for hereason that he field tselfssubaltern r a narrowtributaryfthe cienceof pace, ackingnstitutionalrdisciplinary

Discourse,0.3,all 998,p. 23-138.opyrighty 998Waynetateniversityress,Detroit,ichigan8201-1309.123

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124 Discourse 0.3frameworks,r perhapsbecause it finds tsadeptsalong thedisci-plinary dges ofgeography,iterature,he finearts, nd politicalscience. Nonetheless artographicalheory,ikewhatDeleuze saysof "minoriarian"writing,s an emergent ieldthatfollows ttrac-tivelyransversetinerariesnthewayst risscrossesoththehumansciences nd thehumanities. he modest im ofthis verbriefssayis to look at some ofDeleuze's laterwork nview fcartographicaltheory nd, in thegivencontext, o assess tsoveralleffectivenessoragencywithin hescope of thatfield.Cartographical heoryhas become visibleto the anglophoneworld n at least threeplaces. First, conomicgeographyhas itscelebrated pokesman n DavidHarvey, uthorof TheConditionfPost-ModernityLondon: BasilBlackwell, 989) forwhom he patialhistoryf class conflict nd contradictions a viableway fpittingMarxian orrectivesgainst heeffects f conomicdevelopmentnthe era of transnationalapitalism. he historyfhuman relationswith pace, he arguesin homage to the workof Henri Lefebvre(such as The Productionf Space) betrays patternof increasedcompression nd acceleration. Since the beginningof the earlymodernage, a timedefined nd launchedbythe nvention f theprinting ress, rtificialerspective,nd oceanictravel,heWest aswitnessed conomicgrowth hathas reachedspeedsthatresemblethe orderof logarithmic rogression. he world has become soconsumedby apitaldevelopment hat tcan be said to be ina statehovering bout collapse and disaster.f,he argues,we studyhowexpansion and conquest cover the globe as they imultaneouslycolonize thebody (no matterwhatmaybe itsrace,gender, ge,or national identity),t is easyto see how the loose webbingof"flexible" apitalismhas come to be associated withtotalitariandemocracy.Harveyhas implied that a societyof control (whatMichaelHardtelsewhere akesup in this ssue ofDiscourse nd inEmpire, forthcomingook on the topic co-authoredwithToniNegri) has supplantedthatofdespoticor statistdiscipline." heshrinkageof the space of the world, ike the magic but lethaltalisman n Balzac's Peau de chagrinTheWildAss'sSkin], s theproductofeconomywhosecontroldependson the mminence fits iterally oingout of control.The conclusionsthatHarveyobtainsthroughthe marriageof economyand space are ratifiedn a somewhatdifferent ay,second, n thelabors ofgeographers fexperience. n theirviewthe ubjectiveensation f pacetellsmuch bout tshistorynd canlead tofreshnalysis f ts elation o time nd to anguage.ForYi-FuTuan,author f CosmosndHearthMinneapolis:U ofMinnesota ,1996), space is above all coded bytheway t is felt, r theway


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Fall 1998 125thehuman subjectgainsa consciousness f howhe or she movesthrough t or becomes affected yitspresence (or, as Marxianswould attest, he contemporaryubjecttends to crumpleunderthe pressure t exerts) In the same lightthe late Paul Zumthor,in La mesure u monde Paris: Seuil, 1993), has shown how theattraction hat tudents f the tnedievalworld have for tshistoryand its iteratures based on a desiretofindotherlaces nwhich oburrow,opicalplaces thathave no identityn ourworld r that reriddledwithrich and opaque languagesthat stillresist onquestor reduction to fetish-objectshat can be translated nto capital.Some of Zumthor's onclusions are centered on whathe sees asthe eradicationof forests rom he surfaceof theglobe. Alreadystripped way along manyof the major traderoutesin Europebytheyear800, similarto whatis takingplace in the Brazilianrain forest oday,nEurope itwaseventuallyutthroughwithnewtrails nd,bythetwelfthentury,lmostcompletelynvaded.Thenear-total isappearanceof the forest rom heglobe at the end ofour centuryndicates hatvirtual ields fexperienceand mentalmovementre shrunken nd contaminated y apitaldevelopment.Spacesthat ffer isorientation,oss ofbearings, frclusion nd ofmeditation ecome harder nd harderto find.The eradication ftheexperienceof theforests nfactwhatYi-FuTuan implied obethe outcomeofa two-dimensionalizationf the cosmos nmappingtechniques hat lignedscience with artographyt the end of thesixteenthentury. ewways fmappingtheworld nfactbetrayeda register fexperiencethathas continuedtofollow parabola ofimpoverishmentfsensation nd perceptionn thebiosphere.Added to economicgeography nd thegeography fexperi-ence inmapping s thestudy fcartographyndpower.AsDeleuzenoted in his essayof 1985 on Michel Foucault,its mostcogentexpression sfound n Surveillertpunir DisciplinendPunish) inwhichconceptssuchas the "form fthe content" f social institu-tions,or theways hathumanexperience s spatialized ccordingto strategic perations, an be studiedover and above thehistoryof what a societyproducesor "does" in the consciousregister fits activities. ere, a third rea of concern: n cartographicalhe-ory n anglophone circlesFoucauls workfound a crucial adeptinj. BrianHarley, trainedhistorian fmedievalmapping,whoshifted is fieldofspecialization rom tudy frepresentationsfregional space to the more delicate and ineffable-but no lessoverdetermined- yntheses f statecraftnd designsofpower nmapping.Hisworkhas changedtheshapeofcartography ymov-ingattentionwayfrom hehistorical tudy f thetransformationof maps in theirstatesand stagesto the "hidden agendas" that


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126 Discourse 0.3rule theiruse. One of thekeenestapplicationsofHarley'sworkin the wake of Foucault and Harley s Matthew dney'sMappingan EmpireTheGeographicalonstructionfBritishndia (1765-1843(Chicago, 1997). In the phrasingofEdney's project, n indirectaffiliation ith the theories established n Disdpline nd Punishwe read: " 'Cartographic ulture'encompassesnotmaterialmap-artifacts ut the understanding f the practicesof cartographywhich a societypossesses,the forms f representation mployedto experienceand exploretheworld, nd the meanswherebyhesocial order permeatesthose representationsn order to recastand recreate tself' 36). His cue is takenfromRaymondWilliams{TheSociologyfCultureNewYork,1982]) but, n itsarticulationwhich eads Edneyto conclude that he is studyingthe creationof a legitimating onceptionofempire,ofpoliticaland territoryhegemony,mapped out in a scientistic nd rationalconstructionofspace" (56), Foucaldian echoes resound.The map isallied withpower, iscipline, nd control.Where does Deleuze figure n thismatrix feconomic geog-raphy, he experienceof space, and the cartographyf power?Some indications fcartographic heory ndpractice refound nFoucault 1985) and inLepli (1988). In the former ookDeleuze'sdialogue with Foucault opens on the same ground shared withHarleyand Edneybut leads to thebeginnings f a differentndstartling efinition fcartographyeen through he lenses of in-tensitynd becoming.The rudiments f a theory manate fromthereading fdiscursivendvisible ormationsnSurveillert unir.Herein theconceptofthediagrams ntroduced. he diagram akestheshapeof a generalizedmapthat s not so much an avatar f thecontemporary otion of the chart s a form f cational magingbut,rather, s an "abstractmachine" thatbecomesvisibleon theEuropean horizonat thetimeofthe FrenchRevolution. he mapbecomes a machine hat doubles," eplicates,hat olds ndcreasestheexperienceof ubjectivityntocollective orm. orces nside returnedoutward, nd vice-versa,n accord withmechanisms hatproduce the characterof the modernbodyand the soul that timprisons. iagramsdominate ntwodirections,he"dominationsof othersbeingexceeded bya domination f the self.Obligatoryrulesofpower that s,understood ollectively,yway fmaps] areneeded tomirror herelationwith he elf."1 ircumstancesfcon-flict equirenewmapsto be craftedccording ostylesnd modesofcontrol. n moderntimes, ewdiagrams esult romnnovationinmensurationnd surveyinghat amewith heuse ofdecimals,triangulation egun in 1691 with he first assinisurvey,nd themultifariousabors of the Ecole des Pontset Chausses nitiatedn


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Fall 1998 1271740.2 n the context f Foucault'sstudy fspatialreorganizationof hospitals,prisons,military arracks, actories, nd schools, tpertains o a strange utonly pparentndistinctionetween hingsdiscursive nd things isible:

Thediagrams nolongerhe uditiver visual rchiveut hemap,cartography,s coextensiveith he ntireocial ield.t s an abstractmachine.efinedy unctionsnd bstractaterial,t s unawarefany ormalistinctionetweencontentnd nexpression,etweendiscursiveormationnd non-discursiveormation.t s lmostmuteand lindmachinelthoughtmakestselfeenndheard.42)In otherwords, diagram s an agentthatgrids ife ccordingto theforce-patternstimposeson social bodies. Itproduces sub-jectivity,ut t can change tswebbing nd itsmovement ccordingto theflow f circumstancen ordertoshiftmphasis nitsrelationwith he socialorder t s designing.3t is composedofformationsat once pertaining o language and to visualconfigurations.t ar-ticulates anguage and space by offering model thatdistributesfunctions nd energiesin different laces and in variousways.

Its innovation an be attributedo the fact that t is notentirelypatterned ccordingto the tradition f a preexisting orld.As intheutopievision ftheRevolution,t"produces newtype freality,a new model oftruth," yplottingways fliving nd doing- i.e.,habitus- in fashions hat re connected to thefuture ywayof ts"points femergenceor ofcreativity,funexpeced conjunctions,of mprobable ontinuums". oucault 2-43)EventhoughDeleuze follows oucault at the footofthe etter,the readerascertains n ostensive hift f nflectionway rom hecarcerealworldof a prison,or thefantasyf a three-dimensionalmap that blends Piranesi's Prisonswith the panoptical ideal ofJeremy entham.Deleuze pushesthe nterpretationfthediagramin thedirection f a map ofpossible becomings nd of ntensitiesthatcan findplaces in a social construct orthegood reasonthatthey o not umup pastbehavior ndways f iving. hey emergefrom omewhere utsideorplacesunknown o thegiven anguageofthe nation.Unrelatedto a historical r archival unction,he di-agram s a loose-clad onfigurationf social and spatialpossibilitiesthatncludeareasof llegalism rtransgression,hat erhapsmightbe "otherways" f iving ocialpatternswith ffirmativelyilent utno less creative acticalmeans.4 n thisconfigurationhe relationof forcebetween a controlling rder and itssubjectsseems lesshermetic rdeterministichan what sgiven nFoucault'shistory.Eventhoughthe atter nderscores hemobilitynd adapatabilityofthediagram s a container nd a formulation fspace through


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128 Discourse 0.3activities hat akeplacewithin tsconfines, hereremains, ffirmsDeleuze, "potential, irtual, nstable,vanishing,molecular" 45)relations f force rpowerthat scape themacroscopic urview fa dominant or enclosingorder. The differences btainedin thegap opened between the visible and the discursive omponentsof the diagramaffect he possibilityf creativitynd change bywhichknowledge savoir)workswithin nd through givenorderofpower- simply ecause of the shifting roundbetweenthingsseen and things ttered.n thisway, ince "allknowledge oesfromsomething isibleto something tterable, nd inversely"46-47)a map because it is a heteromorphous bjectmade of schematicforms,conicshapes,drawn ines, nd printed rdrawn anguage,can be a machine of "becoming" n the hands of a userwho willredirect hemeanings t seems to nspirewith tscomposite tyle fspatialrepresentation.5A diagram s a dividedcreation hatbetrays armoremobilitythanwhat sgiven o be seen on cursory iew. urther,t s a "causebeingactualized n itseffect,hat s integratedn itseffect,hat sdifferentiatedn itseffect.Or rather he immanent ause is thatwhose effect ctualizes t, ntegratest,and differentiatest" (44) .The ternaryrticulationfthetwo entences evealshowDeleuze isdefining diagram:Deleuze defines hemap according o a visible-discursive cheme in which a triangulated elations fforces rebroughtntoview nthe yntax. ausesareall atonce 1) actualized,2) integrated,nd3) differentiatedntheir ffects. he conceptioninthe xpressionsbasedon a force hat xists othwithin nd as thevery tructure ftheformulation. he diagram at east nsofar s itisdescribedherebyDeleuze's sentence-diagram)hereforeannotmerely epresent iven space or constitute schematichistory.tactualizes orce nthespatial nddiscursive ffects hat reintegralto itswill topower, hat s, ts nherentmeans that eek to controland, literallyo mapoutactivities nd behaviorswithin tspurview.But a vitaldistinction s added about howthepowerof themapis obtained through he differentialstwork n itsplayof visualand linguistic orm.6t constitutes nd institutesisualand verbaldifferencess thevery awof tsownformation.t endlesslymea-sures "themixtures,aptures, nd interceptions mongelementsor segments f the twoforms, lthoughthe atter re and remainirreducible nd heteromorphous"46) . The mechanism s a "stewthatmixesthevisible nd the utterable"46). Anabstract iagramwould be a sanctioneddistributionf mages ndwords hatdefinesocial paceand its ctivities. concrete iagramwouldbe a physicalmanifestationf the sameinan architecturallueprint, city-view,


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Fall 1998 129or, n the context f MichelFoucaulswritings,hegroundplan*ofa future risonorfactory.The idea complicateswhen,referringo theauthor'sobsessiveuse of the substantivegridding"quadrillagea term hat subiqui-tous n Surveillertpunir nd that lso translates he checkerboarddesignofequipollentmaps) what sexcluded from socialspace isparadoxically nclosed within t.On the one hand, t s mplied hatpsychicnternalization fsocial conflict haresanalogywithphys-ical incarceration.What was deemed unlawful r other, ormerlyshippedoutsideof the socialcompact, senclosed nsecretpocketswithin t. On the otherhand,gridding, heprocessthat s at thebasisofthemapping fthemodernworld,was also a cartographicalschemethat tthetime ftheFrenchRevolution onveyed ogetherthealmostoppositevalences ofutopiaand rationality.ubtendingthe studyof the birth of the prisonis the famousoutline thatRobertde HesselndesignedforFrance nSeptember f 1789. Thecartographermposed checkerboard rid ver henation norderto turn hediocesandivision fterritoryhat revailed ntheandenrgimento a rational ndwillfullyecularpicture fadministrativesquares.The "Chassisfiguratifu territoire e la France" was anoutlinethat dealized butalso determinedmuchof thereshapingofthenation ntodepartments.7 "diagram" esulted rom hegridsuperimposed pon themapofFrance.Anew articulation fspacewasannounced;new modes ofmensuration erebrought orward;newvisions fdecentralizationnd separation f the state rom hechurch were entertained.But the diagrammetthe resistance fentrenchedpractices nd geographicaldivisions wingtogeologyandotherphysical actors hat esistedchematicmodification. helaborsofrevolutionaryartographerseflecthestrugglesnvolvedin theshift rom rchive odiagram nd the nternalization fself-excluding chemes.Bearing nmindthedilemmathatmarks hehistoryfFranceat the time oftheRevolutionwhiletelescopingDeleuze' s glossofSurveillert unir,hereaderdiscerns hatwhen t eeksto formalizeand to channel activity, diagrambecomes a map,but a map ofan organismquite unlike what s given n manyaccepted carto-graphicaldefinitions fthe term.Nothing,Deleuze asserts,s evertotallynclosed orinteriorized ithout herebeingpresent ariousavenues ofescape orchange.

Thehistoryf orms,he rchive,sexceededy becomingf orces,a diagram.t sbecauseorcesppearneveryelationf nepointoanother:diagrams map r, ather,superimpositionfmaps. nd,


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130 Discourse 0.3fromnediagramothe ext, ewmapsredrawn.hus odiagramexistshat oes otnclude,ext o he ointst onnects,elativelyreeorunboundoints,ointsf reativity,utation,esistance.51)

In a nutshell, eleuze is "drawing" is affirmative ap ofmultipleintensities nd affirmationver Foucault' enclosingparadigmofcarcerealpractices.History r archive s replacedbydiagrams rmappingsthat eek to controlbutwhoseoutline can be redrawnand transformedyhumanagency.The triadic urnof Deleuze' sphrasing nce again betrays legantly he expressive ormof thedefinition ywhich diagram nspires n affirmativeenseofplaceand space intheworld, he"topophilia" f all creativity,hichpre-cedes a critical ct ofmutationeadingnot tosynthesisfmappingsbut to resistance ut nviewof their uthority.Create,mutate, esist: heprocessdescribes hediagrammatictransferhat s characterized y trugglesnd their pochal "styles"orways fdoing things.n the sentences hat mmediatelyollowDeleuze inverts he order of thequasi-dialectic hroughmentionof the "ligne edehors,"he line from he outside that s infinitelysingular,hatbends about ike a Moebiusstrip,hathas the ook ofinfinityn theshapeof the number ight hatmarks he decade of1789 and thestrugglesfMay1968. Whence,he concludes,"thetriple efinition fwriting:owrites tostruggle,owrite s toresist;towrite s tobecome;towrites toplotmaps, I ama cartographer.'(51) It suffices o regrid he triadicgroupingsn order to projecthowcartographical ritingsbeingmobilized.create ^.resist

mutate becomeresls* -plot maps ( artographierThe samedefinition ecursna later ssay,lso inFoucault nwhichthediagram arriesfourvirtues: presentationfthe relations fforce hatbelongto a givenformation; distributionfpowers oaffect nd to be affected;he mixofpurely bstract unctions ndpure,unformed awmaterials; lso,most mportant,anemission,a distributionfsingularities.t once local, unstable, nd diffused,therelations fpowerdo not emanate from centralpointor a


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Fall 1998 131unique focusofsovereignty,ut moreperpetuallyfrom ne pointto another' on a field offorces,marking nflexions, urnabouts,returns,pirals, hangesofdirection, esistances"80) . Theycon-stitute strategyn thateach escape or reformulationakesplaceinnew shifts etween heforms fthings isible nd utterable. hemodular uality hat nvites ransformationhows show"diagramsaredistinguishedrom rchives"80) .Bynow t sabundantly lear thatDeleuze furthercracks pen"the Foucaldian conceptof the diagram n order to transformtinto a force ofagency vailablefor differentsers.Here Deleuzesummons minoritarianoliticsn the name ofcartography.9herethinkingfmaps thatestablishways fliving thatcan includemusical uditions, niversitylasses, ubway ides)isaccomplishedbydrawingnew itineraries hroughgiven procedures.Mappingbeginswith ewritingnheritedmaps,orby urningrchivalmaterialintonewand differentorces hat nvest ormwithmovement.To see how it is done it suffices owitness hewayDeleuzerecasts nd rearticulates he incipient artographyn Foucault ntheneo-Baroque space developedin Lepli Leibniz t eBaroque.nthat tudy e arguesthat he modernage beginswith he scientificformations hattakeplace in the wake of the Council ofTrent,and that heir ualification s "Baroque"extends nto thepresentage.10 fa singlephilosophysexpressive f thegiven panoftime,he says, t belongs to Leibniz and his commentators r avatars(suchas AlfredNorthWhitehead) In itselemental xpression heBaroque is characterized yan inflexion, nderstood n the senseofcalculus, s a turningine definedbythepattern fsingularitiestracedbetweenmaximal nd minimal alues. t can be figuredhus

in order to graph the patternof an initialperceptionof a dis-tinction nd of a problematization.he bends itdrawsdemarcatean inside and an outside more readilythan an orthogonal inebecause the space above or below the curvature s embracedbythe nflexion t either xtremity.t is an "active" ine or a point nmovement, "promenadefor a promenade,without particulargoal."11 tpertains omapping nmultifarious ays, ut mostof allwhen understood nits oncurrently athematical nd topologicaldimensions.Deleuze s source is BernardCache, who "defines nflection,or the point of inflexion, s an intrinsic ingularity. ontrary o


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132 Discourse 0.3'extrema' maximaand minima), t does not refer o coordinates:it s neither bovenorbelow,neither ight or eft, either regres-sion nor a progression"20). It appeals to "thepureEvent" 21),no doubt because it tiestheexperienceofspace tothemappingofsensation.Comparisonof Deleuze to Cache's textmakesthepointclearer.Cache notes:

Inflection,hichs ntrinsicingularity,ontrastsithhoseingularitiesthat anonly especifiedfterhedeterminationf vector.heselatteringularitiesre he ointsaid obeextrema:hemaximand heminima.n ourdailyives, e re onstantlyonfrontedith xtrema:the aw fmaximumlope,hemaximizationf rofit,he hortestay,the eastffort,heminimizingf tress,tc.ndeed,twouldeem hatwe eenothingut hesextrema,orur erceptions ntirelyrientedin his ay.rientation,election,dentification:n hese ayserceptionismaximizedccordingo he est esponse.t s not hat othinglseispossible,ut hatll hatspossiblesreducedo hat hichschoseninrelationo he est. eibniz ad aid o nhis ay:t's he aw f heuniverse.12

The "pureEvent"ofwhich Deleuze writesmightbe said to foldmaxima and minima within ts own possibility.omethingthatcannot "takeplace" in reality,t can be effectuateds virtuality.Inflexion-as-Events "not in theworld: t is the Worlditself, rrather tsbeginning,"n eventthatmightbe the "anticipation fan event" (21) in the condition of perception n both singularand infinitizingerms. tfinds tsdiagrammaticalorrelativen aninfinitelyariable urve.13n thehistoryfcartographytbeckonstheparadoxicalstateof the atlas n theBaroque age, a folio-bookthat eplaceswallsorpublicsurfaces nwhichmapsweredisplayedwith oldedpagesofmapsthat re bound to create miniature uttotalizingworldfrom tsownform. eibniz'stheory f the monadas an enclosed and darkenedspace traversed y "folds" ppearsto be inflected ythe maginary osmogenesis hat omes with he"theatrum rbis errarum,"heprivatepaceconvoked y he ocialconditionsdemandedbythebook-atlas, creation hathad takenhold bythe time LeibnizwrotehisMonadologyMhe worldseenas a virtualmapwithin he monadbegscomparisonwith he nitialmovement f the nflected ine or the fold thatdevelopsfrom heform f the atlas.Deleuze sumsup the attributes f the fold n fourways.TheBaroque is characterizedbyfolds that ead to infinitynd thatinaugurate orm ngeneral s an "infiniteine of nflexion, curvewitha unique variable" (48-49). The bent line puts an outsidein and an inside out, separating he one from he other as it si-multaneously ifferentiateshem.Baroque space is one ofa clear


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Fall 1998 133separation.n Leibnizianphilosophy f habitus lower, ublicareaisdistinguishedrom higher,nterior ecor (likethat f a privateand darkenedroom nwhich tlases an be consulted)byvirtue fdistinguishingold. "Pleats f matter n the condition fextremity,foldsnthe oul nthecondition fclosure We movefrommatterto manner,fromgroundsand terrains o habitatsand drawingrooms" 49-50). The "unfold" dpli, whichwoulduniteseparateareas, s not thecontraryo thefold,but an effect hatturns hesensationofdepthinto one of dpheredurfaces.t is characterizedbythenew function fspace ofpainting, o longera "window ntheworld" s itwas ntheRenaissance, ut now an "opaque tableofinformationnwhich ciphered ine sdrawn"38) . notherwords,"thesystemf thewindow-countrysidesopposed bythecouplingof informationable-city"38). The Baroque system f folds andunfolds athers heattributesfa cartographicalurface, speciallytothedegreethat hey re textured nd contoured,n the fashionof n orography,y strata hat eterminecohesion' "thanks otheillusionofdepthobtained n trompe'oeil trategies,ontourrelief,textured rticulations,nd camouflage.Deleuze calls thisprocessfourmillementa swarming azzle, the "perpetualdisplacementofcontour" thatoriginatesn theprojectionof something piritualintomatter,he "fantasmagoriafthe order ofthinking"52). Ifthesymbolic ffectivenessf themapas a diagram s recalled fromFoucaultwe now eewhyheBaroquefoldhas an aesthetic tatus or-responding o thevirtue fthinkingnd politicalpower.Creativeagency omes with hesplashofmultiple little allucinatory er-ceptions n themicro-experiencef concealed and veiledspaces"(52). Perceptionsmultiplyll overa givensurface n theformofdifferentiationseminiscent fwhat characterized hediagram sa set of causes actualized, ntegrated,nd differentiatedithin heireffects.In thisdefinition ftheBaroque builtupon thegeometry finflexionDeleuze is implicitly fferingome elements of carto-graphical heory.nplaceofmore xtensivereatmentf hetheme,sometentativeonclusions an be setforward. irst, e implies hata mapcan be taken rom lmost nyobjectbecause of ts ompositenature as somethinghavingbothvisible nd lexical qualities. t isseen and touched, t s caressedwith heeye,butit s also riddledwith anguage.15 t is alwaysbeing self-differentiatingn thewaythatcollectivelyvisible" nd "discursive" ormationsre investedinto tbeyondthe control f a given uthor.Cartography,mixedmedium, sdynamic ecause itconstantlyhiftso and from ach ofitsdifferentegisters.econd,because of thehistoryf the mple-mentation f tscompositequalities n specific ircumstances,he


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134 Discourse 0.3map emerges n thewestern orizonwhen t s used asa diagram. ythe attersmeant mechanism eplacing he rchival radition hatclassifies nd historicizesnformation ith processthatplotsoutways f nternalizing,fthinkingbout,of iving,nd ofprojectingan order of the world.The moment s inauguratedwithwhathasbeen called the"visibilization"f theworld ndiagrammaticalogicor the assimilationfthecosmosto a "world-picture,"ut reachesdifferentxpressionwhenLeibnizianphilosophy eacts gainst hereductive ectitude fthecartesian rocess.16But a vital rait sperceived, hird,ntheway hatDeleuze usesa cartographical style" f thinkingnd writingo pry open theideological agendas ofmaps. He turnsthem n the directionofevents hat an takeplacewhen heyre used ntacticalways. acticscan include their eployment gainst heir ntended nd, nclusionofchangeor transformativegents hatwillyield new" iagrams, rdifferentensorial r affectiveses of chematic bjects nways hatmeld aestheticswithpraxis.17 eleuze projects hediagram n thedirection fbecoming.Fourth,most mportant,nd as a preface ormoreextensive esearch,tcan be said thatDeleuze scartographysone that rawsmapsof nflexions hat re seen and felt s ntensities.The mapshe creates re not as stable swhatmight e found nthepertinent spectsof an equipollent, center-enhancing,r a routemap.18His maps are not objects,but "objectiles" hat modulatetheir orm hroughmultifariousorcesnforminghem.Machinesofforce, hey reappoximations f "events" henprojected nto aplane ofbecoming, n which heir ingularitiesrmultiple ointsof nflectionnticipate hefolding nd unfolding f nfinities. hemapas an "event" ecomesthereleasefrom he onstrainingield fa perceptualgridor a webbing hat rganizes ensation. he eventof themapbecomes a virtual assagefrom perception f detailtoinfinityhatmoveswith ndthrough rojectiveolds. eleuze calls ta "chaosmos"nthe ine ofJoyce, orges, rGombrowicz,nwhicha pointof norigin fcreation ecomespure process hat s definedbymultiple oints hat iddle tensional urface.n this ontinuumperceptions ontinually ivergenall directions. elt ndperceivedis aworld f"captures ather han losures."19 ence a cartographyof ntensitiesnd ofaffectiveharge.When, tthe end of Lepli,heconcludes thatwe lead ourperpetually aroque lives n a processof"folding, nfolding, efolding"189), he varieson theongoingprocess fwritinghat, swasearlier een, scomposedof"resisting,becoming,mapping."Clearly eleuze,althoughnever ormulatinga philosophy fcartography,ndeeddevelopsthecomponentof acartographicalheory nd practice. t sharestraitswith conomicgeography, hegeography fexperience, nd thestudy fpower


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Fall 1998 135as a mode ofspatialrepresentation,ut t also aimscartographicalimages nthedirection fchange,becoming, nd intensity.

Notes1 Gilles eleuze, oucaultParis:Minuit,985)108.AlltranslationsfromheFrench ere nd elsewhereremy esponsibility.2 The historyf theSchoolfrom 747 to 1830, oughly atching

thedurationf time tudiedn Foucault's urveillertpuniris outlinedinJosef onviz,CartographynFrance,660-1848Sdence,ngineering,ndStatecraftChicago:U ofChicago ,1988)135-39. The chool's urricu-lum, asedon a udicious lendof theoreticalndpracticaltudies, aswidelyecognizedsprovidinghebest rainingn civilngineeringn theworld....) The Revolutionhook his arefulyonstructeddifice,utlike well-designedridge ithgenerousafety argin,t urvivedntact"(136).3 Its aw s thusnot omethingmposed s a permanentulebut sflexiblyormative.eleuzewill efine heBaroque ge n Lepli throughreferenceo theobjectile,ot an object, ut a functionalityhat an bedeclinedn a serialway. AsBernard acheshows,t s a verymodernconceptf he echnologicalbject.t referso more othe eginningsfthe ndustrialra nwhich he deaofthe tandardtill eld semblanceof essence nd mposed lawofconstancytheobject roduced y ndfor hemasses)but o ourcurrentituation,hen hefluctuationfthenormreplaces hepermanancef a law. ...) The new status f theobject o onger efershe atteroa spatialmould,hats, oa relation fform-and-matter,ut o a temporal odulationhatmplies continuousplacementfvariationfmattersmuch s a continousevelopmentfform"Lepli26). See note 10 below ndpoint our f theconcludingremarksbove.4 On this core eleuzes remarksre lose owhatMichel e Certeaucalled he invention"feverydayife r manners fpluralizingctivitiesinways uchthatgiven odes and laws rebeingbentor transgressedbecausetheoverridingiagramncludesn the formulationf ts awsan"integrationf llegalisms"45) Certeau's orksdevelopednArts efaire : L'inventionuquotidienParis:Gallimard,990).Recent ditionsofLaprisee aroleParis: euil, 993) ndLa cultureuplurielParis: euil,1994) ndicate hat erteau's ascent oliticalheorieslso archbackto1789,where or hefirstime new uture as ssociated ithhe mageof pagereadyobefilled ith diagram.5 Theapproachaken odefinemap nthese ages iffersarkedlyfromhe efinitionsenderednmostartographicalanuals.nhis lassicMapsand CivilizationChicago:U ofChicagoP, 1996),Norman .W.Thrower elies netymology:Thewordsmap nd chartppear o derive


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136 Discourse 0.3frommaterials:heLatinword arta enotes formal ocumentnparch-ment rpaper,ndmappandicatesloth"3). In the ich ntroductionoL'empirees artesParis:AlbinMichel, 993),Christianacobnotes hatmaps nd theirmaterial wemuch o contingencynprehistory.othThrowerndJacob mplyhat heearliest fallgreat ower-mapss thepetroglyphtBedolinanNortherntaly.t canbe seen s a manifestationofpowernd ontrolnthe ense hat oucaultndHarley ave eveloped.6 Cartographicalistorians ave tended o define hevisual ndlexical ensionsnmaps ntermsfquantifiableifferences.cosmog-raphys a worknwhichmaps re functionf urroundingext;natlasgivesquivalencerprecedenceo themap nrespecto textualmateriallimitedothe erso ide f folio agemountedn a quire. renchtlasesdevelopromosmographieshen, eginningith hemiddle earsf heseventeenthentury,he cientificower f themap s celebrated.Thereadingf mapeffectivelyequires habit ndan effortf bstractionofwhich ot ll readers f the ixteenthnd seventeenthenturies erecapable.Thus can be observed tthebeginningf this ra,on theonehand, hepredominancefviewsnrespectomaps nd, n the ther,nindissociabilityfmaps rom he extnwhichheyre nserted,he extnot lwayseally eferringothemap: hemap s till n mage hatsgazeduponmore han t sread," otesMireille astoureaunthe ntroductionto herLesAtlasranaisXVIe-XVIIeiclesParis: ibliothqueationale,1984: ) Foucauls istinctionf eeingndreadings guiding rinciplein this efinition.7 Themap s llustratednKonvitz44, ig. ) Foucauls bservationsabout he takesf ethinkingationalpace reratifiedy he artograph-ical historian.The revisionf administrativeoundaries as of coursesymbolicf thebreak heRevolution adewith hepast.Byremoldingthecountryccordingo more ationalriteria,ncludingeferencesonature,hegovernmentoped ocut heknots hat ied preformsn theOldRegime. monghemanyeformsroposednthe arlymonthsf herevolutionaryra,two elated rojects- o modernize hemeasurementsystemnd to establish cadaster-wereconspicuouslyartogaphicnnature"Konvitz3-44).8 Or even henumber f his ootnote:n"Diagrammet ettre:urla PiazzadeMelville,"tried o show ow he igneedehorsn this assageofFoucault as related ofigurativeraitstheelements fvisibility)nMelville'siction.herein he elationf he 8" f1968 o nfinitetruggleis taken p (inGisleMathieu-Casellani, d.,La pensee 'imageParis:Presses e l'UniversiteParis-VTII,994]142).9 Minoriarian ritingnd ts oliticsre principalopicnhisKaflia(Paris:Minuit,975)but t esurfacesnvisual ermsnL'image-tempsParis:Minuit,985),280ff,nwhich trajectoryarallel o themovementromarchiveodiagrams seen nthefilmmaker'shift rom hewill o raisethe onsciousnessf given ublic othat fthe nventionfthepublicbymeansof creative se ofgivenmedia.The 'archival' ineastwould


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Fall 1998 137beJohnFord, nd the diagrammatical'ounterpartouldbe GlauberRocha.10Cf. the remarksoncerninghe Council f Trent nd sexualityelsewheree.g.,nFoucault1) thatxplainmuch bout oucault'srojectfor historyf exuality.11Lepli:Leibnizt eBaroqueParis:Minuit,988)21.Alltranslationsfrom heFrenchremine. urthereferenceso this dition ill e madeinthe ext bove.12EarthMoves: he urnishingf erritories,rans. nneBoymanCam-bridge:MITP,1995)35-36.WhenLepliwaspublishedn1988,Cache'swork ad notyetppearednFrench r nEnglish.eleuze tated hat heforthcomingmeublementuterritoire,a work fgeographicalnd architec-turalnspirationorwork n mobilierppearedessentialor llfold-theory"(22 n3).13Deleuze referso RenThorn's heories fcatastrophend mor-phogenesisnorder odescribe he even lementaryeventsf opology,firstndforemostfwhichs the old"23nl).14Thewatershedate f he irsttlas s1570, heyearwhen brahamOrteliusublishedhefirstfmanynsuingditions fhis Theatrumrbisterrarum.15 nbothL image-mouvementParis:Minuit,983)andL'image-tempsDeleuzereiteratesowmuch inema s a mediumimultaneouslyeen ndread. image-mouvement:From itheride, arefactionrsaturation,heframe eaches s that he mage s notmerely iven o be seen. t is aslegible s t svisible"24) L'image-temps"Thereppears he nversionhattends o be producednsoundfilmsnrespecto the ilent radition:nplaceof an image eenand ofspeechread, heact ofspeechbecomesvisible t the ame ime hat tbecomes eard, ut o too thevisualmagebecomesegiblensofars it s a visualmagenwhich he ctof peechsbeingnserteds a component art f t" 303)16Walter.Ong'shypothesesnvisibilitynRamistchmas frheto-ric rewellknownnRamus nd he ecay f ialogueCambridge:arvardU P reprt.,983).Heidegger's ork n Descartes akes p the"world-picture,"broadlyonceived erm hat annot ail o refer omaps, ndthat,s some ommentatorsave hown,sdecisive or oucault'sesearchon the arlymodernge.17Deleuze'swork n cinema vers o be a sensuousartographyfthe mage. he same anbe saidfor he tylef reading"rancis acon'spaintingsnLogiquee a sensationParis: ditions e laDiffrence,981),analysisfwhichsbeyondhe copeof his aper.18 n "Roger acon'sTerrestrialoordinateystem,"nnals f heAssociationfAmericaneographers0.1 1990):109-22,DavidWoodwardnotes hat hese hreeypes revailince heMiddleAges.Anequipollentmap assigns qualvalue o allpoints epresented.hecenter-enhancing


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138 Discourse 0.3mapdraws he ye oa focal rea,whereashe oute-enhancingappullsthe ye long lineofpassagecross he urface.eleuze'smapwould eone of ntensitiesfreliefndsimultaneouslynflectedtrata.twould ecomparableoan abstractaintingnthat alueswould eequipollentr"all-over,"uttheywouldyield epthsndaltitudesfforce t differentpoints. hepointshat eterminehe nflectionsould hange ccordingto thevagariesfviewing. mapof nflexion ouldbe orographic,sCachenotesnthe arly ages fEarthMoves.19Lepli111.

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