The project takes as its starting point a photograph of the Sainte-Victoire mountain, in direct reference to the series of oil on canvas and watercolors painted by Cézanne based on this landscape in the south of France (one of the most recurring motifs towards the end of his life).

In a way, what we know about Cézanne's way of working on his paintings can be likened to a pre-algorithmic discorrelative workflow. In that the orientation of his engagement, trying relentlessly to exhaust the domesticated gaze, displace the meaning of what is shown through a fragmentation of perception. As Merleau-Ponty described in his essay Cezanne's Doubt ("le doute de Cézanne"), this disintegration that dilate the eye strips the landscape of its culturally familiar attributes in order to better bring out, in the materiality of the canvas and the fragmented arrangement of the brushstrokes overflowing one another, the entanglement of the painter's perceptual flow with the inhuman material background of the landscape that precedes it and conditions the very possibility of perception intuitively making sense of it.

However, unlike Cézanne, and back to our anthropo-algorithmic context, the contamination of the coupling between natural language and mental representations by the inhuman background of the diffusion model adds an additional stripping: the preeminence of the work of the eye, which remains in Cézanne the focal point of an intuitive revelation, is here abolished.