The light falls within a black circle that coincides with the circumference of the iris. It is not difficult to realize its overlap with a form of modernity, its covalence with a basic unit of the abstract vocabulary. Malevich (1879-1935) paints a black circle (1924, 1914 the motif) floating on a white surface. Flotation has antecedents in Goya's flotations, both in nightmares and in bullfightings; flotation reaches the economy of abstract presence after having erased ultimately the real referent. In Malevich, Suprematist configurations can be seen as operations against gravity, against the world, as rests of romantic subjective gaze. In Rodchenko (1891-1956) however, who is using a camera, they are operations of modification, by giving to the world a new dynamic rational shape, as figures of political action after art.
In these registers of refracted light inside migrant crystallines, flotation and abstraction acquire an epistemological and political meaning where absolute subjectivity of tardo-romanticism in Malevich and the figure projected by a camera as active revolutionary politics in Rodchenko are radically displaced. In light signals, the floating as a form of absolute, of absolution, performs, out of the play of the figure, the technical administration of the field of the empty interlocution which is the structure of the migratory flow. The arrival of light signals to the crystalline lenses completes a recurring autonomous (in)communicational structure. In this sense, the abstract program apart from being deconstructed it is in fact compressed, it is ontologically performed till becoming technical, till not constituting another subjective or revolutionary reality —two forms of utopy— but constituting an apocatopy (from the word apocalipsis), an absolved perfect camera.