"The encounter between AI and aesthetics is crucial because aesthetics is considered a quintessentially human domain. Its intractability and complexity have long appeared as insusceptible to algorithmic reduction. For some, art, aesthetics, and creativity are the pinnacle of human abilities and therefore represent a final bulwark against the seemingly unstoppable advances of AI. In other words, this complex field becomes the ultimate testing ground for AI’s possibilities and limitations." -Lev Manovich A choice that could have emerged only within a specific location, at a specific time, through a specific body, becomes inscribed as an irreversible trace. Yet that trace is not the record of the decision itself, but rather the sedimented surface of countless sensations and possibilities that were not selected. Before being a medium for transmitting meaning, the moving image is the residue of a process—an accumulation of fragmented perceptions that surfaced prior to any structured formation. The point of origin in such expression is not a defined intention, but a connection to an unstructured state formed at the intersection of space, body, and perception. Interactions between heterogeneous systems—technology, nature, and the body—do not result in assimilation or transformation into a unified entity, but instead manifest as a non-assimilative relationality, where each maintains its own internal structure while coexisting. This kind of relational mode resembles the structural harmony observed in microbial ecologies or plant interactions: a condition of coordination that is neither dependency nor domination. Each component continues to uphold its own order, even as it is influenced by others, thereby functioning as an open system that resists reduction to singularity. What is rendered visible is merely the surface of such interactions; beneath that surface lies cognition that was never structured, sensations that escaped formalization—resonating quietly within the image. The transformation that arises from this encounter is not the reception of meaning, nor a reorganization of structure, but rather, a subtle modulation deep within the strata of perception.