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Suddenly, before me, new objects appeared, bizarre figures cut out, notched, a set of articulations has become suddenly visible and these observed objects were no longer banal, whatever, insignificant; they were on the contrary, diversified in the extreme. They were everywhere, all space, all the world was filled with new forms. They were nested in the hollows of the least forms. It was like an unknown vegetation that grew around me. Industrial objects without value provoked the appearance of objects temporarily given a great complexity. The position of things triggered new exotic forms, forms that escaped us despite their evidence. Accustomed as we are to trivial geometries, we perceive perfectly the circle, the sphere, the cube or the square, we perceive infinitely less well intervals, the interstices between things, between people.[31]
The above passage highlights another of the central aspects of Virilio's perceptual schema. The geometry that intrigues him is not that of the completed forms, as he notes, but rather of the 'intervals, the interstices' that spawned a plethora of new forms. It is the relationship of objects, and especially objects in movement that, as we have seen with the references to Epicurus, are the fundamentals of this physics or physical geometry. By seeing the articulations of objects each object becomes unique forcing the 'viewer' to see and not just re-see. By seeing the intervals or the spaces we create the commonplace where the objects may appear. That is, the 'intervals' are the duration that 'creates' time for dwelling.
from Paul Virilio: The Politics of 'Real Time' - David Cook