This description portrays memory emerging from its nebulous background. Initially, it is but a dull presence, a kind of call. If it eventually takes form, it’s through a series of more-or-less abrupt shifts connecting it to various associative series (related memories, semantic resonances, sensory echoes) across different organizational planes of consciousness. This process certainly contains something stochastic, perhaps quantum even: a train of discontinuous images crystallizing in turn, forming and dissolving abruptly like kaleidoscopic views, before suddenly delivering the missing memory—in this case, a name the philosopher had “on the tip of his tongue.” This example also confirms that the medium of pure memory isn’t an undifferentiated field: it already encompasses multiple expanding neb-ulosities, including more luminous points awaiting development into memory constellations. We ultimately return to the rhythmic physionomy mentioned ear-lier, only expressed now through memory’s jerky actualization process. What’s essentially preserved (perhaps exclusively on the psychic plane) isn’t features of experience whose traces the brain can redistribute, nor constantly reworked neu-ral activation patterns, but a certain overall schema, what we previously called a “dynamic schema” (ibid., p. 161), organizing memory elements, making them mutually supportive as part of an integrated dynamical process. Every recollect-ing effort is dimly oriented by this schema which, in its pure form, designates “a point where the multiplicity of images seems to condense into a single, simple and undivided representation” (ibid.). Of course, no image can capture this—and it’s certainly not an object. If art can offer a fleeting glimpse—and, to some extent, let us feel it—echoing the insights of physicists or neuroscientists, then the meta-physician’s work will not have been mere figures traced upon the water’s surface.