When we observe scenery, our senses often ignore the material existence of the scenery itself. Obviously, the components of scenery have a material existence, yet they reflect or emit light, and the light passes through the transparent air and into our eyes, finally becoming a couple of two-dimensional images on the retina. A distant view lacks three-dimensionality, according to our perception, no doubt because a representative image results from this process of transformation from material to vision.

Here, we set the analog optics in the scenery, specifically between the matter and the image, adding momentum towards the optical device. The momentum in the material world invokes a sense of embodiment, and we recall the materiality of scenery from the observation. The analog optical machine, which transforms the distant view as representative image, highlights the paradox of immateriality and materiality of the image via same media instruments. It establishes the relationship between image and matter, human nature, and nature itself.