The diagonal opposition of the minimum (Giordano Bruno’s fold-building which together with Nicholas Cusanus’s complicatio influenced Leibniz’s monadology) towards its environment (the afforded outside) that evades the logic of negativity at the same time that it defies submission and thus maintains constancy in opposition to its environment would not be indifference but inverse-difference to the environment. The minimum according to Bruno is not a world of the minimal but a world that registers itself in its surrounding as the minimum, or the maximum resistivity against what can economize it (or communicate with it according to the scale of the environing sphere or surrounding). The minimalist object is constantly prone to the maximalization of its environment as an outside ontologically existing only in what can be afforded by the object and what can afford the object. The minimum, however, undergoes building as a dissociation from its environment but not the outside by re-aligning its position as well as its ontological explicatio (development) to its environment instead of cutting from it or differentiating its minimum-ness from the all-encompassing measures (metron) of the environment. It is in the same way that Henri Michaux (Mr. Plume, Exorcisms and Night Moves) escapes the surrounding by building the minimum of the object or the universe (in the sense of Giordano Bruno’s the minimum) instead of directly overpowering the lines of gravity or through the line of escape, by undertaking the logic of the bullet, the projectile of infinite condensation and shells rather than perpetual dynamism.

If every object passes different types of forces, and generates its possibilities as well as actualization (posse / est) based on the affect space that these forces enmesh over and through it, modifying the type of forces and their designation would ensue a new reciprocation to the environment. The deployment of forces that define the totality, the context and the assemblage of the minimum, namely, what leads to an inflection or connection to the outside by inflexus, a point on a curve at which the tangent crosses the curve itself, creating a site of autonomous inwardness. Here, the twist or the inverse-difference from the affordability of the surrounding (the economical communication) is taken place by running the process of building through inflection, the event of endless inwardness, not interiorization. Inflection is an essential singularity near which, functions exhibit extreme behavior which neither manifests itself as a pole (polarity of functions or extremum) nor a removable singularity (contiguous to its primary function). The object of inflection is not of extremum (here or there, left or right, core or surface, forward or backward); it is external to the logic of coordinates, building a cavernous movement whose every turn is a point of return to the inside. Gravity (domination) is not at stake here because inflection deals with vectors of a curve which determinate the axes in oscillation around it, consequently, the object of inflection flees from weight (becomes weightless) not by escaping gravity through counterpoising it but becoming irrelevant to it. Inconclusively, inflection in the minimum realizes an autochthonic world where the formation of the building is from the place it is found or it originates, and vice versa. Cosmo-crafting itself according to an autonomous inwardness, the object as the building of inflection populates between dimensions (an inter-dimensional Xanadu) or it is without dimension, in either case, it is a self-contextual explosion along vortical bends. It existentially registers itself as an auto-event, installing the outside on the inside while closing inside upon the outside in an attempt to create a plenum external to its surrounding spatium. The self-context cosmology of inflection is the genetic element of an active object which cuts across the passivity of indifference and the reactionism of difference to generate an inverse-difference out of which outside is propagated infinitely and inwardly, creasing over and over – in the manner of wet-folding in origami – until producing a mass whose depth transforms to concrete thickness or concentrated fullness, a self-context which is not self-referential but autarkic by means of inflecting outside (reto-openness) rather than closure. The opposition of the minimum to the environment emerges from this retro-openness to the Outside, an outside that includes the surrounding (the environment) and what the environment cannot assimilate (the Outsider space), vorticity is the quality of this retro-openness and inward diffusion is its dynamism.

To this end, the process of bringing the materials together (orchestration) in the minimum is not of composition but is determined by squeezing, wrapping endlessly, creasing within and over creases, compressing into each other, shoving upward and downward, pressing out from the sides, staging all processes that bring together through the dynamics of forces risen between materials and masses, yield and stress, nonlinear elasticity and flow plasticity: an architectural forge-press.