We understand better the reasons for this cavalcade of images and the arguments that follow them: none is sufficient in itself, not only externally (comparison and serialization), but also internally (passage from trace to sign). . The consequence, itself hallucinating, of this acceleration is that Elon Musk's gesture has become normal, insignificant, it is a sign among other vectors in the immensity of the possibilities of the latent space that has become our reality.
Possible reality
The excessive nature of the meaning of images as ontological access dilutes all meaning. This of course benefits contemporary carbofascism, and serves the designs orchestrated by Steve Bannon (director of Trump's campaign in 2016, then chief strategist at the White House during his first term, editor's note) on an international scale. But this excess could also become an empty space granted to viewers: as with David Lynch, an image is what could be in the worldproducing fascination and terror, the crossed delight of the sublime, exceeding the factual world, by structuring meaning and the world insofar as it exceeds our horizon (the world is everything that is around, everything that borders the experience).
Acceptance of this gesture is therefore not an accidental and passing event. It is the symptom of the connection between images and reality, a relationship which constitutes meaning because an image and a reality have no meaning in themselves. AI, as a new way of producing images (texts, sounds and videos), disrupts this relationship and our very conception of reality: nothing exists except as a possibility. This regime of possibility as ontology can lead to different destinies. Musk's sign being just one of the possibilities.
