This article describes perceptive reactions from a hypothetical spectator facing the works by impressionist painter Edgard Degas. The text will drawn from Wolfgang Iser's Aesthetic effect theory (1978), in order to consider a possible visual objects reading methodology, which characterizes a reception of the subjective experience, but according to the folding notion (Deleuze), namely the experience that opens itself to multiplicity, to expansion, to the outside, instead of closing of meaning. The folds express the invention of various relationship ways of the subject with himself/herself and with the world throughout time. They can refer to both the production of subjectivity and to subjectivation, as bends of a sheaf of forces responsible for the creation of existential territories.
