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It is the about-face in Turning Figure [30]. It is George Dyer's bicycle ride 40 Painting and Sensation [40], which closely resembles that of Moritz's hero: "his vision was limited to the small piece of land he could see about him . . To him, the end of all things seemed to lead, at the end of his journey, to just such a point .. ,"16 Therefore, even when the contour is displaced, the movement consists less of this displacement than the amoeba-like exploration that the Figure is engaged in inside the contour.

Classical art can be figurative, insofar as it refers to something represented, but it can also be abstract, when it extricates a geometric form from the representation. But the pictorial line in Gothic painting is completely different, as is its geometry and figure. First of all, this line is decorative; it lies at the surface, but it is a material decoration that does not outline a form. It is a geometry no longer in the service of the essential and eternal, but a geometry in the service of "problems" or "accidents," ablation, adjunction, projection, intersection.

Or rather, it has no faces at all, it is both things indissolubly, it is Being-in-the-World, as the phenomeno34 Painting and Sensation legists say: at one and the same time I become in the sensation and something happens through the sensation, one through the other, one in the other. 1 And at the limit, it is the same body which, being both subject and object, gives and receives the sensation. As a spectator, I experience the sensation only by entering the painting, by reaching the unity of the sensing and the sensed.

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