For Deleuze montage is the indirect movement of time or history operating in a spatial duration with a shaping force and subjectification as the process of folding in which requires desire and affect: 'Fold affects all materials that it thus becomes expressive matter with different scales, speeds and different vectors… folds materialise forms and produce expression' The metaphor of the fold offers infinite possibilities in the movement from the inside (affect and memories) to the outside (enacting the future self).   Innovations in Narrative and Metaphor: Methodologies and Practices

Gilles Deleuze (18 January 1925 – 4 November 1995) was a French philosopher who, from the early 1950s until his death in 1995, wrote on philosophy, literature, film, and fine art.

There is a variety of modalities of folds - from the fold of our material selves, our bodies - to the folding of time, or simply memory. Indeed subjectivity might be understood as precisely a topology of these different kinds of folds.

The fold in this sense is also the name for one’s relation to oneself (or, the affect of the selfon the self). The Greeks were the first to discover, and deploy, this technique of folding, or of ‘self mastery’. They ‘invented’ subjectivation – the self-production of one’s subjectivity. Subsequent cultures have invented their own forms of subjectivation, their own kinds of foldings, for example Christianity, and of course it might be said that our own time has its own folds - or even that it requires new ones. This gives the fold an explicitly ethical dimension, but also a political one, for as Deleuze remarks the emergence of new kinds of struggle inevitably also involves the production of new kinds of subjectivity, new kinds of fold (Deleuze has in mind the uprisings of 1968). References: Deleuze, Gilles (1993), The Fold: Leibniz and the Baroque, trans. Tom Conley, Minneapolis: University of Minnesota Press. Simon O'Sullivan

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