While the last chapter addressed the existential, ontological problematic of the digital by reflecting on the thematic, metaphorical relations generated between body and space at the virtual/actual boundary in post-cinema, this chapter focuses more directly on the technological and formal aspects of the digital image, and the affects which are specific to them, in a more schematic mode. In other words, I move from digital effects as affective emblems of certain metaphysical questions of our time, towards a more structural analysis of emergent affects of the digital image. In doing this, I take a genealogical view of new architectures and topologies of space and the affective dynamics of movement, rhythm, and gesture of forms within these spaces, not as a typology, but as a means to ask how they have impacted on our awarfeness of metaphysical qualities. These structural dynamics are expressed in content which includes the renderings of bodies, objects, and ‘vitality forms’ in computer-generated imagery as well as in hybrid modes mixing computer-generated animation and live action, and also incorporates the technological forms of presentation such as digital 3D and digital IMAX that impact upon these dynamics. ‘Vitality forms’ are defined by psychologist Daniel Stern as abstract, phenomenal sensations of intensity which incorporate time, force, movement, space, and intentionality but which are not only expressed through the movement of a physical object or body, but also through sound, shape, colour, or any other aesthetic experience, or indeed any ‘happening’ which expresses ‘energy, power or force in motion’ (Stern, 2010).