There are myriads of invisible paintings in existence. We succeed in capturing a negligibly infinitesimal part that is absolutely necessary for human life. This invisible reservoir constantly nourishes and supports us, on the one hand; on the other, it provokes us and imposes a certain sense of weightlessness, regardless of the particular circumstances in which we live.
Depictions and Fragments
An infinite sea of images – simultaneously appearing and disappearing – that is impossible to perceive, so we content ourselves with distorted depiction-fragments and, insofar as these fragments succeed in suggesting the fullness of the whole/the unfathomable, to that extent they are also convincing.
Cognition changes the world
It is clear that events allow only a small part of themselves to be captured; in this sense, reproduction of the invisible becomes an instrument (limited in itself) of cognition and, regardless of whatever technical or scientific progress, the main content becomes lost in conjecture.
Cognition, for its part, irreversibly changes the world and thrusts us into the unknown – where the essence of reproductions proves to be: the successful always include the thrillingly unknown, whether they narrate or synthesise. Irrespective of the extent to which a final form (in this case, the reproduction) embodies something infinite, questions remain open as to whether this final form is a fragment of the infinite, whether it is variable, to what extent it is cognisable, and whether it can act outside the parameters it has communicated to us, viz., beyond its own description. Myriads of unpainted pictures exist. And the more we draw them, the more numerous they become.
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