He is looking through a kaleidoscope, surprised by the kaleidoscope's magic sights. He dwells in fantasy and imagination as images that overflow his expectations take him by surprise, sights disrupt his familiar space before he is able to name and articulate them. The sights are already there disrupting causality, presence and synchrony. Magic and fantasy means to be disturbed by what comes from a different time. It means to establish proximity to what remains other and surprises us beyond fear or guilt.
Fantasy is seduction by a kaleidoscope rather than articulation of arguments under the microscope.
This is a point where Biesta's isomorphic use of the term discourse used both by Derrida and Baudrillard will prove problematic. As Baudrillard has shown, visual culture is a culture of homogenization as the codes of signification and the codes of commodity partake of the same equivalence in media and advertising. The subject becomes powerless because her body no longer exists as a referent. The problem, though, does not lie in the passive inscription of the mind against the body but rather in just the reduction of any difference and temporality in this process of enfleshment. Its mode of existence cannot be different from the language that incubates and enframes it.