关键词: 单子论, 媒介, 影像, 现象学, 中性

Abstract:

Leibniz conceived monads as non-extended substantial forms that represent the universe, providing a “cosmic cinema” perspective on autonomous images, manifested in the “clockwork imagery” mechanism where organic and mechanical qualities unite. Modern monadology, as developed by Husserl and Deleuze, transforms “monadic images” into visualized intersubjectivity and “disjointed” time, both phenomenologically reducing image media to a “neutralized” plane between the ideal and the real. Thus, cinematic monadology maintains continuity between the finite subject and its representation of an infinite universe, extracting the ontological basis for technological images.

Key words: Monad theory, media, image, phenomenology, neutrality