CENTRE FOR
ARCHITECTURE I THEORY I CRITICISM I HISTORY
ATCH
Author(s)
Holden, Susan
Title
‘Finding the architecture in Deleuze: Heinrich Wölfflin as a source of Deleuze’s baroque’
Date
2007
Source
Panorama to paradise: proceedings of the 24th annual conference of the Society of Architectural Historians, Australia and New Zealand
ISBN
1-920927-55-7
www.uq.edu.au/atch
Finding the Architecture in Deleuze: Heinrich Wölfflin as a Source of Deleuze's Baroque1 Susan Holden School of Geography, Planning and Architecture The University of Queensland, Australia Abstract The work of late-twentieth-century French philosopher Gilles Deleuze has been the source of much interest in the discipline of architecture in recent years. Even though Deleuze rarely deals directly with architecture as a subject matter, his use of evocative spatial language with terms including “the fold”, “planes of immanence”, “deterritorialization”, and “nomadology” have inspired architects and architectural theorists to explore what his philosophy might offer the discipline.
Another way to think about the relationship between the work of Deleuze and the discipline of architecture would be to seek a more tangible link to the discipline's history by contextualizing his philosophical work within a historiographical framework. More specifically, to investigate the source of Deleuze's interest in the Baroque that is used to such effect in The Fold to reinterpret the work of Enlightenment philosopher Gottfried Leibniz.
A significant source for Deleuze's understanding of Baroque form is from nineteenth-century German art historian Heinrich Wölfflin. While known primarily as an art historian, Wölfflin developed many of his theories from studying Baroque churches in Rome, and his work occupies a significant place in the history of architecture. In reading a selection of Deleuze's texts published prior to The Fold, it is possible to find several references to Wölfflin's study of Baroque art and architecture and his ideas about perception, movement, and affect, and thus to map out an earlier interest in the Baroque in the work of Deleuze. This paper will offer a survey of such moments in the work of Deleuze, to address some voids in the historical context surrounding his texts and to see how they might pertain to architecture.
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Introduction The work of French philosopher Gilles Deleuze has been the source of much interest in the discipline of architecture in recent years among both practitioners and theorists. This interest parallels others in the discipline concerned with the possibilities of new digital technologies, non-Cartesian geometries, and morphing forms, and his philosophy is often used to explain these more formal interests. 2 Even though Deleuze rarely deals directly with architecture as a subject matter, his use of evocative spatial language with terms including “the fold”, “planes of immanence”, “deterritorialization”, and “nomadology” have inspired architects and architectural theorists to explore what his philosophy might offer the discipline. The most obvious of these explorations can be categorized as concerned with the aesthetic, tectonic, and spatial possibilities of Deleuze's philosophical concepts. 3 Other explorations have been more concerned with exploring Deleuze's philosophy in relation to creativity, technique, and the conceptual boundaries of the discipline. 4 The purpose of this paper is not to outline or evaluate the use of Deleuzian philosophy in architecture. However, it will seek to offer one explanation for its popularity by seeking a more tangible link to the discipline’s history and by contextualizing Deleuze’s philosophy within a historiographical framework; and further, to suggest that exploring Deleuze’s text through a historiographical lens reveals another relevance for his work beyond applied philosophy and folding architecture. More specifically, this paper will investigate the source of Deleuze's interest in the Baroque, used to such effect in his book The Fold: Leibniz and the Baroque, 5 to reinterpret the work of Enlightenment philosopher Gottfried Leibniz. In The Fold , a significant source for Deleuze's understanding of Baroque form comes from nineteenthcentury German art historian Heinrich Wölfflin, particularly his analysis of Baroque architecture in Renaissance and Baroque, 6 first published in German in 1888. While known primarily as a pioneer in the new discipline of art history, Wölfflin developed many of his theories from studying Baroque churches in Rome, and his work occupies a significant place in the history of architecture. In reading a selection of Deleuze's texts published prior to The Fold it is also possible to find several references to Wölfflin’s ideas about perception, movement, and affect that he developed out of his study of Baroque form and explored in Principles of Art History: The Problem of the Development of Style in Later Art , first published in German in 1915; 7 and thus to map out an earlier interest in the Baroque in the work of Deleuze.
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This paper will offer a survey of such moments in the work of Deleuze. It will deal, specifically with a series of texts published in close succession between 1981 and 1988 that, within their specific projects, reflect on the history of vision and the characteristics of the historical period referred to as the Baroque. These are, in chronological order, Francis Bacon: Logic of Sensation, 8 first published in French in 1981 and in English in 2003 ; Cinema 1: The Movement-Image, 9 first published in French in 1983 and in English in 1986; Cinema 2: The Time-Image, 10 first published in French in 1985 and in English in 1989; and finally, The Fold: Leibniz and the Baroque, first published in French in 1988 and in English in 1993.
To provide an initial overview, the moments of Wölfflin in Deleuze that are explored in this essay can be categorized into two different kinds. Firstly, Wölfflin's formal analysis of Baroque art and architecture and his analytic category the 'malerisch' is used as an important source in Deleuze's discussions of the historical development of concepts of vision and their relationship to the psychology of experience in the arts. Secondly, Wölfflin's descriptions of the Baroque are made use of, one might say appropriated, to provide an allegorical 'house' for Deleuze's philosophy of “the fold”.
Francis Bacon: The Logic of Sensation The first instance of Wölfflin in Deleuze that I will discuss comes from his book Francis Bacon: The Logic of Sensation that deals with the art of twentieth-century British painter Francis Bacon (1909–1992). It is recognized as “one of Deleuze's most significant texts on aesthetics”, 11 and arguably marks the beginning of his interest in the Baroque. The book is as much a development of philosophical concepts about the nature of art as it is about Bacon's paintings. However, it is clear that Deleuze admires Bacon and sees in his work a future for modern painting after photography in the way it rejects abstraction and engages with various 'subjects' of painting, among them figuration, movement, seriality, and colour. Deleuze makes use of the work of Wölfflin to establish a historical background to his interest in these qualities in Bacon’s painting, especially in relation to categories of vision, and how vision as an analytic category might offer a way to understand the development of Western art. 12
Deleuze's interest in the relationship between perception and sensation in Bacon's painting is formulated in relation to the tactile–optical dialectic developed by Wölfflin in his book Principles of Art History . In this book, Wölfflin develops a series of oppositional categories, including linear and painterly; plane and recession; closed and open form;
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multiplicity and unity; and clearness and unclearness, that allow him to make a formalistic analysis of the progression of historical styles between the sixteenth and seventeenth centuries. For Wölfflin, the 'malerisch' quality (translated variously as painterly and picturesque) 13 of Baroque art and architecture was distinctly different from the linear quality of classical art and could be understood as representative of a historical development in the conceptualization of vision away from tactile vision and towards a purely optical vision. Movement was a key quality of the 'malerisch' and Wölfflin developed the idea of the 'picturesque movement-effect', using his experience of buildings as an example, where the sensation of movement was an effect of the painterly quality of the work. 14
In Bacon's paintings, Deleuze finds the exploitation of both tactile and optical vision and thus a dismantling of the oppositional dialectic that interested Wölfflin. 15 However, Deleuze continues to use formal qualities identified by Wölfflin to describe how Bacon achieves his effects. In describing an early painting by Bacon titled The Sphinx (1954), Deleuze observes that the treatment of: “the form and the ground as two equally close sectors lying on the same plane” 16 is reminiscent of pre-perspectival representation that “imposes upon the eye a tactile or rather haptic function.” 17 At the same time, Bacon’s paintings explore optical effects through the rendering of the figure and the use of colour. These are the ongoing themes in Bacon’s paintings that Deleuze sees as distinguishing his 'genius' and demonstrating his exploration of a new relationship between 'haptic' or in Wölfflin’s terms, tactile and optical vision. Of Bacon’s use of colour, he says: “Are there not two very different kinds of gray, the optical gray of black–white and the haptic gray of green–red?” 18 Here he draws on Wölfflin's observation of the way colour can have relations of value as well as relations of tonality and can thus operate in both the tactile and optical realm. 19
Similarly, Wölfflin’s interest in the effect of movement is shared by Deleuze in his analysis of Bacon’s ability to capture the feeling of the absence of movement. While Wölfflin finds in Baroque architecture an 'embodied' movement, Deleuze finds Bacon more interested in the drama of the still body and the effect of the implied movement on it. 20
Cinema 1 and Cinema 2 The next two instances of Wölfflin in Deleuze that I will discuss are found in his books on cinema in which he elaborates two unique qualities of modern cinema, the movementimage that is constituted through the various possible movements of the camera but also
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in the technique of montage; and the time-image through which cinema is able to engage with the virtuality of time and of the past. In both of these volumes Deleuze again draws on Wölfflin's formal categories described in Principles of Art History , in this case his dialectic of planar and recessional composition, to discuss the quality and effect of depth in the cinematic image and his analysis of the portrait as a way of understanding the close-up in cinema. Depth-of-field In The Movement-Image Deleuze distinguishes between a number of different types of shots that together constitute the way cinema achieves movement and duration. One of these is the “long duration fixed or mobile shot” or “sequence shot” that utilizes depth as a technique to unify the representation of different spaces and their associated narrative or symbolic effect, within one shot. 21 For Deleuze, the use of depth in modern cinema represents a significant progression from 'primitive' cinema. He makes a comparison between this advance in the cinematic image and the evolution of depth between sixteenth- and seventeenth-century painting, where a superimposition of planes each of which is occupied by a specific scene and where characters meet side by side is replaced by a completely different vision of depth, where characters meet obliquely and summon each other from one plane to the other. 22 Deleuze’s observations here are directly informed by Wölfflin's analysis in Principles of Art History where he makes a comparison of two paintings of Adam and Eve, by Palma Vecchio (1504) and Tintoretto (c1550), to demonstrate this development in the representation of depth. Wölfflin draws our attention in the Tintoretto to the sense of movement generated across the foreground and background by the diagonal spatial relationship between Adam and Eve and its continuation in the recession of the landscape.23 For Deleuze, this “freeing of depth” in the cinematic image leads to a corresponding freeing of its relationship to time and is critical in the development of what he calls the time-image in modern cinema. He says: As long as depth remained caught in the simple succession of parallel planes, it already represented time, but in an indirect way which kept it subordinate to space and movement. The new depth, in contrast, directly forms a region of time, a region of past which is defined by optical aspects or elements borrowed from interacting planes. 24
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The film Citizen Kane (1941) by Orson Welles is given as an example of the use of depth of field to create the time-image. In discussing the scene that depicts the attempted suicide of Susan Alexander, he notes that Welles is able to simultaneously represent narrative events in the one frame by exaggerating the scale difference between foreground and background while maintaining a consistent depth of field. He describes the resulting composition as having a baroque quality: The volume of each body overflows any given plane ( plan), plunging into or emerging from shadow and expressing the relationship of this body with the others located in front or behind: an art of masses. The term 'baroque' or neoexpressionism is literally appropriate. 25
The scene that Deleuze describes is known as an 'in-camera matte shot'. Technically, it achieves an extreme deep-focus effect by shooting the foreground of the scene with the background in darkness, then rewinding the film and re-shooting the scene with the background action and the foreground darkened. 26
For Deleuze, the effect of spatial movement described by Wölfflin in the composition of Tintoretto’s painting is exceeded in the cinematic image to become a movement in time: The screen itself is the cerebral membrane where immediate and direct confrontation takes place between the past and the future, the inside and the outside, at a distance impossible to determine, independent of any fixed point ... The image no longer has space and movement as its primary characteristic but topology and time. 27
The Close-up Deleuze's discussion of the close-up or the affection-image is another moment where he makes use of Wölfflin’s dialectic of the linear and the painterly, particularly Wölfflin’s analysis of these qualities in the portrait in Principles of Art History , in this case to describe the uniqueness of the affection-image in modern cinema.
In the cinema, the close-up represents the possibility of affect, to be moved, in an otherwise still image or shot. In the close-up, epitomized by the face, it is possible to register on the one hand the unity of facial features (identity) and expression in the still face that looks out at us, and on the other the intensive micro-movement of the face that is moved to express something. The face, Deleuze says, “is this organ-carrying plate of nerves which has sacrificed most of its global mobility and which gathers or expresses in
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a free way all kinds of tiny local movements which the rest of the body usually keeps hidden.” 28
The distinction made by Deleuze between ‘faceification’, the wondering face that bares witness, and ‘faceicity’, the feeling face that expresses experience, both of which constitute the affection-image in cinema, 29 is directly informed by Wölfflin's dialectic of the linear and painterly, 30 demonstrated through an analysis of two portraits in Principles of Art History , one by Albrecht Dürer, Portrait of B. van Orley, Dresden (1521) and one by Frans Hals, Portrait of a Man (otherwise known as From the Tour , c.1582–83). For Wölfflin, the Dürer appeals to the tactile senses: “[t]hings and appearance fully co-incide, [and] [t]he close view yields no other picture than the distant view”. 31 In Hals, in contrast: The close view and the distant view diverge … A very close view is senseless … The rough, furrowed surfaces have lost any possibility of comparison with life. They appeal only to the eye, and are not meant to appeal to the senses as tangible surfaces. The old form-lines are destroyed. No single stroke can be taken literally. The nose twitches, the mouth quivers, the eye twinkles. 32
Wölfflin's earlier writing about 'Einfühlungstheorie' or empathy theory in his doctoral thesis titled Prolegomena to a Psychology of Architecture, originally published in 1886, 33 in which he draws from Charles Darwin's theory of the affect of facial expressions to explain the affecting quality of the movement embodied in Baroque art and architecture, are also pertinent here. 34 Deleuze uses a similar theory of affect to formulate the stillness and movement of the close-up of the face described by Wölfflin into a theory of the affectionimage in cinema. 35
The Fold The last instance of Wölfflin in Deleuze that will be outlined here, and probably the most familiar to an architectural audience, is found in The Fold . It is the most architectural, both in its evocative spatial imagery, but also in the way Deleuze literally uses architecture, the Baroque church, to give an allegorical form to his philosophical concept. It has also been the most widely influential for the discipline since the publication of the first chapter of The Fold, ‘Pleats of Matter’ in the AD publication Folding in Architecture, 36 edited by Greg Lynn, first published in 1993, and then reprinted with a new introduction in 2004.
The Fold attempts to show the relevance of the work of Enlightenment philosopher Gottfried Leibniz for the contemporary world. The originality of Deleuze's interpretation
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comes from his association of Leibniz's philosophy on matter and perception, with the formal qualities of the Baroque, of which Deleuze sees the fold as the primary trait, 37 and particularly with Leibniz’s concept of the 'monad’, which is used to explain the transmission of information between the sensing body and the knowing soul. 38
In The Fold , Deleuze develops an image of what he calls the “allegory” of the “baroque house” as a way of clarifying the difficult concept of “the fold”. In doing so he makes direct use of the formal descriptions of Baroque architecture developed by Wölfflin. An extended quote from The Fold reads as a condensed version of Wölfflin's analysis from his book Renaissance and Baroque, and demonstrates the importance of this source for Deleuze: Wölfflin noted that the Baroque is marked by a certain number of material traits: horizontal widening of the lower floor, flattening of the pediment, low and curved stairs that push into space; matter handled in masses or aggregates, with the rounding of angles and avoidance of perpendiculats; the circular acanthus replacing the jagged acanthus, use of limestone to produce spongy, cavernous shapes, or to constitute a vortical form always put in motion by renewed turbulence, which tends to spill over in space, to be reconciled with fluidity at the same time fluids themselves are divided into masses. 39
Deleuze goes so far as to illustrate his “baroque house” with a diagram (which appears as a sketch in the first French edition). The diagram is simultaneously a plan, section, and elevation and resembles several photographic and drawn illustrations of churches in Wölfflin's books that illustrate both a plan and an elevation, or a three-dimensional sketch in the one frame. The main point here is that Deleuze's philosophy clearly benefits from the architectural structure of the Baroque church described and illustrated by Wölfflin, especially as it allows Deleuze to advance Leibniz’s understanding of the soul and his theory of the monad as a “windowless soul” by adding another storey to the construction, to account for the relationship between the body and the head.
Anthony Vidler provides a good outline of how Deleuze's “baroque house” is built up from Leibniz’s description of what goes on in the brain from perception to understanding, which was in turn a response to British philosopher John Locke's idea of the brain as a camera obscura. Leibniz extends Locke's “dark room metaphor for discernment” by adding a screen that is under continuous vibration and has both an active and a reactive force. To this “windowless soul room” Deleuze adds a lower storey, “a bodily anteroom”. 40 The
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tangibility of the “baroque house” thus provides both an evocation and a grounding for Deleuze's philosophy.
Deleuze draws particularly on two formal qualities of Baroque architecture observed by Wölfflin to make these philosophical distinctions. The “windowless upper room”, representative of the autonomy of the monad (the inside without an outside) 41 is explained by the disjunction between the facade and the interior identified by Wölfflin in the Baroque church: “In the hands of the baroque architects the facade becomes a magnificent show piece, placed in front of the building without any organic relationship whatever with the interior.” 42 Similarly, Deleuze's distinction between the two floors is explained by Wölfflin's description of the two major tendencies of movement in the Baroque interior: “Above all it conveyed an impression of movement, by seeming to be ever in a state of new formation, so much so that given certain proportions it seemed actually to rise upward.” 43
It is interesting to note that contemporary French philosopher and architect Bernard Cache also makes reference to Wölfflin in his Earth Moves, 44 cited by Deleuze as an unpublished manuscript in The Fold . Although not published until 1995, Earth Moves was prepared as a manuscript in 1983, five years before The Fold was published. 45 Reading Earth Moves, it is clear that Cache and Deleuze were engaging with similar ideas and sources and possibly exchanging ideas around this time, in the context of the Deleuze's seminar in Paris, which Cache attended. 46 So it is possible that Deleuze's interest in the Baroque, especially its architectural expression, also came from this exchange.
If the formal qualities of Wölfflin's Baroque architecture are interpreted, as Vidler and others have suggested, as symbolic of “a new psychology of the body”, 47 then, in Deleuze's translation of Wölfflin, outside of an appreciation of its historiographical context, the Baroque undergoes a double remove, becoming an allegory of an allegory that shows that Deleuze is putting architecture in the service of philosophy in a similar way to folding architecture has appropriated Deleuze’s philosophy to explain its otherwise formal interests in mathematics and digital technology. 48
Conclusions Obviously Wölfflin is not the most important source in understanding The Fold or Deleuzian philosophy, nor is finding the source of Deleuze’s interest in the Baroque supposed to offer a more correct genealogy for architects interested in Deleuzian
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philosophy. However, outlining the relationship between Wölfflin and Deleuze does help explain why Deleuze’s philosophy has been popular and influential by suggesting that its assimilability to architectural theory can be explained by its base in architectural history. This historiographical exercise also reveals several other points that should bear on a proper understanding of the work of Deleuze and on the way his work is considered in the discipline.
Firstly, by way of clarifying the chronology, it is possible to suggest that Deleuze's investigations into painting and cinema that precede The Fold , and through which he became familiar with Wölfflin's work, made the Baroque and in particular the Baroque church available for Deleuze's appropriation in his philosophy of “the fold”, which was published later.
Secondly, clearly articulating the background to Deleuze's philosophy (which can otherwise be somewhat hidden) highlights the importance of acknowledging the historical context surrounding his work generally, and in particular of considering the role of the period of German aesthetic theory, of which Wölfflin was an important part, in the development of contemporary ideas about space and vision.
Lastly, while the example of “the fold” highlights the difficult relationship that exists between architecture and philosophy, it also reveals a missed opportunity for the discipline that could be found in seeking a critical reading of Deleuze that extends beyond “the fold” and acknowledges Deleuze’s longer interest in concepts of movement, sensation, and affect. Reading Wölfflin and Deleuze together also reveals that they both offer interesting ways to understand issues of ongoing concern to the discipline, including those of time and temporality: the relationship between the time of making, the durational time of experience, the historical time of reception; and the life-span time of existence; and how these might bear on our understanding of architecture.
Endnotes 1
This paper has been prepared as part of my PhD research at the University of Queensland under the supervision of Dr John Macarthur, Dr Andrew Leach and Dr Nicole Sully. I would like to thank them for their advice in preparing this paper. 2 This point is made by Anthony Vidler in his discussion of the ‘informe’ in architecture: Anthony Vidler, Warped Space (Cambridge, MA; London: MIT Press, 2000), vii. 3 Folding in Architecture, first published in 1993, was perhaps the first text to discuss architecture in relation to Deleuze’s philosophy: Greg Lynn (ed.), Folding in Architecture (London: John Wiley and Sons, 2004). It presents many architectural projects, including several by Peter Eisenman. Among them, the Rebstock Park Masterplan for Frankfurt, Germany has also been discussed in relation to Deleuze’s philosophy by John Rajchman in Constructions (Cambridge, MA; London:
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MIT Press, 1998). Lynn’s own work is represented in Folding in Architecture by his Stranded Sears Tower project. Bernard Cache, a student of Deleuze, explores Deleuze’s philosophy in relation to architectural design processes in Bernard Cache, Earth Moves: The Furnishing of Territories (Cambridge MA; London: MIT Press, 1995). Other notable projects dealing with ‘folding’ forms, if not explicitly with Deleuze’s philosophy, include Frank Gehry, Zaha Hadid, and UN Studio. 4 Including: Andrew Benjamin, ‘Time, Question, Fold’, AA Files, 26 (1993), 7–10; Rajchman, Constructions; Elizabeth Grosz, Architecture from the Outside: Essays on Virtual and Real Space (Cambridge, MA; London: MIT Press, 2001); Stanford Kwinter, Architectures of Time: Towards a Theory of the Event in Modernist Culture (Cambridge, MA; London: MIT Press, 2002); Manuel de Landa, ‘Deleuze and the use of Genetic Algorithim in Architecture’, in Neil Leach (ed.) Designing for a Digital World (London: Wiley Academy, 2002); and Ian Buchanan, Gregg Lambert (eds), Deleuze and Space (Edinburgh: Edinburgh University Press, 2005). 5 Gilles Deleuze, The Fold: Leibniz and the Baroque (Minneapolis; London: University of Minnesota Press, 1993). 6 Heinrich Wölfflin, Renaissance and Baroque (Ithaca, NY: Cornell University Press, 1990). First published in English in 1964. 7 Heinrich Wölfflin, Principles of Art History: The Problem of the Development of Style in Later Art (New York: Dover Publications, 1950). First published in English in 1932. 8 Gilles Deleuze, Francis Bacon: The Logic of Sensation (London; New York: Continuum, 2005). 9 Gilles Deleuze, Cinema 1: The Movement-Image (Minneapolis: University of Minnesota Press, 1986). 10 Gilles Deleuze, Cinema 2: The Time-Image (Minneapolis: University of Minnesota Press, 1989). 11 Daniel W. Smith, ‘Introduction’, in Gilles Deleuze, Francis Bacon: The Logic of Sensation (Minneapolis: University of Minnesota Press, 2003). 12 Two chapters in the book deal more overtly with the history of Western painting in terms of a progression of periods or styles and suggest a position for certain qualities of Bacon's work in a historical trajectory, conceptually if not chronologically: Chapter 5, 'Recapitulative Notes: Bacon's Periods and Aspects' and Chapter 14, 'Every Painter Recapitulates the History of Painting in His or Her Own Way'. 13 Several commentators on Wölfflin's work have noted the problem of translating this German word successfully into English. Most commentators agree that leaving the word untranslated is the most appropriate acknowledgement of its particular meaning. Deleuze also acknowledges the historical discussion around the translation of the word and uses the German in his texts. Deleuze, Francis Bacon, 128 (n 6). 14 Using architecture as an example, he says: “Everyone knows that, of the possible aspects of a building, the frontal view is the least picturesque: here the thing and its appearance fully coincide. But as soon as foreshortening comes in, the appearance separates from the thing, the pictureform becomes different from the object-form ... Certainly, in such a picturesque movement-effect, recession plays an essential part in the impression – the building moves away from us.” Heinrich Wölfflin, Principles of Art History , 25. 15 Deleuze, Francis Bacon, 91. 16 Deleuze, Francis Bacon, 86. 17 Deleuze, Francis Bacon, 85. 18 Deleuze, Francis Bacon, 92. 19 Deleuze, Francis Bacon, 91. 20 This idea is elaborated by John Macarthur in a recent essay: ‘Modern Movement: on Some Issues in the Contemporaneity of Architecture and Image Types’, Architecture Theory Review 11:2 (2006), 22. 21 Deleuze, The Movement-Image, 26. 22 Deleuze, The Movement-Image, 26. 23 Wölfflin, Principles of Art History , 76. 24 Deleuze, The Time-Image, 108. 25 Deleuze, The Time-Image, 108. 26 Robert L. Carringer, The Making of Citizen Kane (Berkeley, CA; London: University of California Press, 1985), 82. 27 Deleuze, The Time-Image, 125. 28 Deleuze, The Movement-Image, 87. 29 Deleuze, The Movement-Image, 88. 30 This observation is also made by Macarthur in ‘Modern Movement’, 22.
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31
Wölfflin, Principles of Art History , 43. Wölfflin, Principles of Art History , 43. 33 Heinrich Wölfflin, 'Prolegomena to a Psychology of Architecture', in Harry Francis Malgrave, Eleftherios Ikonomou, Empathy, Form and Space: Problems in German Aesthetics, 1873–1893 (Santa Monica, CA.: Getty Centre for the History of Art and the Humanities, 1994), 149–90. 34 Malgrave, Ikonomou, Empathy, Form and Space, 43. 35 Macarthur also makes this point: “Deleuze takes from Wölfflin, as much as from (Henri) Bergson, an anthropopathic theory of affect, which goes back to ancient doctrines of mimesis and was given a modern form by Charles Darwin.” Macarthur, ‘Modern Movement’, 23. 36 Greg Lynn (ed.), Folding in Architecture (London: John Wiley and Sons, 2004). 32
37
Tom Conley, 'Introduction', in Gilles Deleuze, The Fold: Leibniz and the Baroque (Minneapolis; London: University of Minnesota Press, 1993, xi. 38
As clarified by Vidler: “The monad ... registers the impulse of the outside world as it does the inner and innate knowledge with which it is endowed from birth.” Vidler, Warped Space, 220. 39 Deleuze, The Fold , 1993), 4. 40 Vidler, Warped Space, 223. 41 Deleuze, The Fold , 28. 42 Wölfflin, Renaissance and Baroque, 93 43 Wölfflin, Renaissance and Baroque, 115. 44 Cache, Earth Moves, 44, 46. 45 Mario Carpo, ‘Ten Years of Folding’, in Folding in Architecture, 16. Paul A. Harris, 'To See with the Mind and Think through the Eye: Deleuze, Folding Architecture, and Simon Rodia's Watts Towers', in Ian Buchanan, Gregg Lambert (eds), Deleuze and Space (Edinburgh: Edinburgh University Press, 2005), 37, 59. 46 Harris, 'To See with the Mind and Think through the Eye’, 37, 59. 47 Vidler, Warped Space, 221. 48 Mario Carpo makes an interesting observation in his introductory essay that deals with the history of folding architecture in the revised edition of Folding in Architecture by asking why the chapter from The Fold on the baroque house was included in the original publication instead of the one on calculus that was probably more relevant: Mario Campo ‘Ten Years of Folding’, in Lynn (ed.) Folding in Architecture, 15.
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