The time-image begins with opsigns and sonsigns – pure actual optical and sound situations – a de-differenciated image. This de-differenciation is a consequence of ungroundings of three processes proper to the movement-image: a stymieing of the emergence of composition in the perception-image (which in turn effects each type of movement-image); a crisis in the action-image (through a relaxation of the sensory-motor laws of the large form); and a weakening of the linkages between different types of movement-image (disrupting the coalescence of the entire regime). An attack on one of these processes is an attack on all. If perception can no longer describe a central and privileged image but remains gaseous, every type of movement-image dissolves into the genetic forces from which it once originated, perception no longer extends into the laws of action, and the entire system is delinked and collapses. If the action-image is no longer dominated by the large form, and the five laws of the milieu do not describe a determinate situation determining behaviours, perception will find no extension through the sensory-motor trajectory, mental-images will no longer sustain and explicate matter-images, and each type of movement-image will revert to its genetic force. If – finally – the links between each of the images collapse, there will be a concomitant confounding of the emergence of signs of composition and, once again, no way to fulfil the sensory-motor system in the web of laws of the milieu and behaviour. The stymieing of perception-images, the crisis of the action-image and the delinkage of the movement-image – together – describe de-differenciation. Such de-differenciation, however, is not only destructive. It is only ‘the negative condition of the upsurge of the new thinking image’ (C1: 215). Everything returns to the purest zeroness – everything can begin again through an alternative trajectory (C1: 211). Opsigns and sonsigns are the name given to this moment, actual on-screen de-differenciated visual and audio images. And it is these images which will generate a new series of signs, new types of image, new orders of narration and narrative. This will be the time-image cineosis. A cinematic semiosis developed from the pure zeroness of actual opsigns and sonsigns exploring an ever-expanding series of virtual correlates. And it is the virtual correlates that will engender a new image of cinematic thought.