In Sartrean terms, the intention evokes the object of the image-consciousness, a representation of the very absence of the object which is an accumulation of matter of worldly things and of the mental-world i.e., external and psychic elements of matter.
(i) It is the coming together of the imaginary and real-world with intentionality of the object that posits creation for an artist. Through imagination of the aesthetic psychic elements, the artist gives its creation the uniqueness, as the external element of the creation simply posits where the creation was positioned.
(ii) The absence of the physical object is harnessed as a quasi-matter of absence in an artists’ imaging-attitude. However, a quasi-matter is different from a ‘sign-consciousness’ even though they both render the matter as absent. A quasi-matter renders the physical-object as absent but also as present when summoned, hence, eliminating the illusion of immanence through quasi-phenomenon dependent on its non-thetic emanation into the image-consciousness of the artist.
(iii) A critique of arts, in time, would examine the imitation-consciousness of a given portrait at a museum wherein the imitated-image consciousness would induce its affectivity through the physiognomy of the imaged-synthesis i.e., a product of the whole of image-consciousness. This combination of the signified and imaged consciousness through the imitated-consciousness allows the critique to possess the object of the portrait in order to assess and critique it.
(iv) A structure’s study requires a certain knowledge of its vectorial essence within the symbolic movement wherein it evolves as consciousness. The knowledge of this structure evokes a corrupt image-consciousness of this structure’s vectorial aspects through the reflexive eye-movements of the observer.
(v) A look at the I-Ching symbol on wall tapestry, allows the sensory manoeuver to subsume the knowledge of yin-yang’s continual cosmic changes of polarity. Therefore, it is the very symbolic-manoeuvrism that posits knowledge of the tapestry’s structure which further fabricates its image-consciousness.
(vi) Hypnagogic imageries are essentially non-thetic phantasmic images that posit imprecision in details of the Tetris effects exhibiting spontaneous knowledge. The temporal aspect allows the manifestation of the knowledge of the object-focus of the image-consciousness, which ceases to exist in hypnagogic imagery as hypnagogia propounds knowledge of its very ontological phenomenon.
(vii) The symbolic movement is born from a signified-intuition and ideational form of knowledge. Hence, it is the gap between the image-consciousness and perceptual-consciousness that entitles the object with knowledge as the imitation (signs) symbolically transcend into intuitive-matter of uniformity for the quasi-observation.
(viii) A mental image exhibits no worldliness or spatial relations, rather only its object-matter posits Sartrean transcendence of the representative. A mental-image’s reflective and representative element differ just like solid and gaseous states of camphor in alchemy i.e., no remnants are left behind during the course of transcendence, therefore, exposing the presence of quasi-matter in psychic data-point particularity.