Immanences

For a reverie to pursue its course with enough constancy to yield a work […], for it not to be simply the idleness of a fleeting hour, it must find its matter¹

The movements described by each of the three sets of works that have concerned us in this central chapter — structurations, destructurations and assemblages —, from the outside of the digital image toward its deepest layers, lead, in their extension, to considering a level located beneath the physical, which could not be designated otherwise than as metaphysical. In other words, the reflection that emerges from the works yields a position regarding the fundamental functioning of the world, echoing a debate that is certainly not new, and which will be presented in a register less philosophical than artistic.

1. Gaston Bachelard, L’eau et les rêves, op. cit., p. 10.↩︎