As these events proliferate, they gain series of entanglements with other objects whereby they extend into or over one another.(11) The way the monad includes its predicates determines a harmonization of the monad with the adjacent and component objects, with regard to the production of the world around it.(12) The monad's withdrawn virtual being—or its intrinsic singularities, to use Deleuze's term—generates the events that include relations within the object. Meanwhile there is a second, reflexive operation which directs these series of inclinations inward toward convergence as intensities.(13) As such, the propagation of relations is not a constriction of the object but a continuous prolongation(14) with regard to the world it engages. “Even compressed, folded, and enveloped, elements are powers that enlarge and distend the world.”(15) In the same way architecture extends into a frame that “itself becomes detached from the inside, and establishes relations with the surroundings so as to realize architecture in city planning.”(16)
The extension of monads and the inclusion of additional inflections gives the monad a changing 'texture' of qualities and potentials. “Extensions effectively are forever moving, gaining and losing parts carried away in movement; things are endlessly being altered; even prehensions are ceaselessly entering and leaving variable components.”(17) The example above from the Baroque bel composto illustrates how the object gains new arenas of influence as it attunes to new inflections. “This area of interindividual, interactive clustering is quite agitated, because it is an area of temporary appurtenances or of provisional possessions.”(18) Continouous differentiation of the developing assemblage feeds back into the withdrawn being of the object such that the object “no longer refers... to a relation of form-matter—but to a temporal modulation that implies as much the beginnings of a continuous variation of matter as a continuous development of form.”(19) Michael Guggenheim has demonstrated how architecture is incapable of being restricted to a single domain, but is always an object acting in multiplicity of associations,(20) making it uniquely suited to the model of the objectile,(21) where “fluctuation of the norm replaces the permanence of a law.”(22) Following this concept, we will show how architecture activates and intensifies the urban dynamic by including its perception of the unlocalizable rhythms of the city as inflected predicates.