In the latent space, the images revealed by the denoising are approximate, like memory.

In my mind, Kim Novac plays Grace Kelly. I've forgotten the story behind Vertigo.

But no matter, the important thing is to remember the essential patterns that great creators have managed to inscribe in our collective memory.

And that's how we recognize great creators of form.

"To see a star that burned out long ago, one must be very far from it. There are even pasts that occurred at such a distance that they have not yet reached us." wrote Günther Anders.

The latent space acts like a night sky: it shelters billions of possible points, invisible to the naked eye.

To make images emerge from these points, one must connect them, trace complex trajectories that gradually sketch a reflection of what might have been, but never blossomed within our temporality.

All this is only possible if the observer stands at the right distance from the past. The figures of our constellations exist only within our own firmament.

She is a pattern drawn from latent space, glimpsed during an algorithmic drift.

Perhaps one of you has met her already, or will meet her in some distant future.

What fascinates me is that vertiginous depth where the image outruns reality.

AI charts branching timelines—possible lives that orbit our own like invisible satellites, potentials waiting to bloom.

It's about exploring the possibilities of latent space.

It seems to me that we can encounter patterns that have already been conceived but haven't had time to blossom in our time.

One day we will explore infinite spaces. I just hope they don't separate us.

I've forgotten the story of this movie. I've forgotten why James Stewart is chasing this woman. I don't know why he's so obsessed with making her look exactly like a dead woman.

But we remember Madeleine's hair. We remember the Golden Gate Bridge. We remember that strange scene in front of the trunk of a thousand-year-old tree.

It seems to me that these memories look like this in my mind.

They aren't exact copies but rather approximate images that live in their differences from their original matrix.

Somewhere in latent space, there are films that never saw the light of day in our reality.

Lost in la Mancha with Jean Rochefort has finally been filmed, and Clouzot's Inferno is not unfinished.

The same goes for world history. All that remains is to imagine it.

This is a scene from a film I have always dreamed of making. Imagining the meeting of one of greatest poets, Charles Baudelaire, with one of the 19th century’s greatest engravers, Charles Meryon.

I know this meeting took place somewhere in Paris, in a café near Saint-Lazare around 1860. I even went to see if the place still existed, but everything had vanished.

Only a few written traces remained to reconstruct this encounter — and the power of imagination.

Much like Peter Watkins' film La Commune de Paris, which through its innovative narrative device was able to revisit a forgotten chapter of history within our present, the latent space offers a formidable tool for the actualization of memories.

It is an as yet unknown continent that must be explored, in order to trace its contours and, perhaps at last, complete the stories that History and time had engulfed.

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