COLLAPSE III

Unknown Deleuze
Mehrdad Iravanian

Two unknown Deleuzes and one un: an approach to deciphering the collective symmetrical manner of the central page (page 131) of The Fold (518 words) carrying out a logical cartographical composition of abstract topological elements (monads, words, etc.). The baroque nature of 131 can be distinguished through two references: firstly, the central piece (3) has an identical architectural form to baroque facades (Santa Maria della Pace, Saint Ivo della Sapienza, SantAndrea al Quirinale); secondly, the same central piece (3), as surrounded by symmetrical pieces (1-1), manifests the voluptuousness of a curvilinear, growing, unfolding form, immanently symmetrical. As a form, 131 presents the elements of symmetrical order of the early baroque. 231
COLLAPSE III, ed. R. Mackay (Falmouth: Urbanomic, November 2007) ISBN 978-0-9553087-2-0 http://www.urbanomic.com

COLLAPSE III An expression of states and relations which are inflected, which evolves a process shaped by different types of information before, during and after a building is materialized. This is how a boogazine a hybrid type of publication, often employed by architects and combining the heterogeneity and topicality of a magazine with the referential and comprehensive approach of a book describes the comicbook-like format through which it re-edits an event (viz., any product: building, piece of writing, art object), usually after the event has found the solid ground necessary in order for it to be instituted as an object.

The proper place to seek the unfolded Deleuze is within the collective information that he has processed, not outside the content: the unknown is within.

More precisely, in relation to the subject at issue: With regard to its sources, The Fold diagrams the unpleating function.

Chapter title: The New Harmony a most appropriate title for this new arrangement of unread characters.

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The following graphitext critically examines this type of processing whilst (1) avoiding the vulgar comic-book tendency toward collage (instead invoking the baroque sense of perpetual development of a term); (2) receding to a lower profile of difference: The dominant modes and techniques of visual literacy are based on creating a relation between (graphical) elements in a grammatical manner puzzle-solving on a monodimensional surface. It ought to be understood, however, that their effects (the perceived visual production) ultimately take place in the distance between the observer and the work (as related to the monodimension). Control of this space (the inderdimensionality between the observer and the work) can be achieved by influencing the networks of a series of focal points, the difference between the members of which is only a matter of distance (either as color or shape: hue, gradient, saturation, etc.). So that this management of distances between focal points from the observer is another way of creating work a lesser-known type of visual literacy amongst graphic artists. 233

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Examination of tExt: SEarch for hiddEn SubjEctS

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LEttErS find dirEction

Unknown Deleuze, as semantic unit, is non-directional, whereas:

is directional.

Separation and re-connection create a spatial, multidirectional statement. This process evolves the original statement into an unpleated state.

Importance of Leibniz (p.236); Briggium (p.237); Concentration of Memory (p.238); Poles cast Shadows (p.239); Soft Relation (p.240); Tendencies of Poles (p241);Volatile Boundary (p.242).

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