Entering this new geological era known as the Anthropocene brings about a profound transformation in the very fabric of the world. This radical metamorphosis is reflected in the dialogue between Chang Chih-Ta and Emmanuelle Blanc. Chang offers a tribute to the surreal beauty of asphalt strips cutting across the land. His image materializes resource exploitation but also serves as an allegory of the modern stance: the viewpoint is no longer simply dominant but literally detached from the ground, removed from human and earthly conditions. In contrast, Emmanuelle Blanc brings us back down to Earth, confronting the evanescence of a sublime that slips away. The mountain, long a source of fascination with its terrifying beauty embodying geological time and inaccessible space, was once eternal—a refuge for gods and myths. Now, its future is uncertain, and for the first time, humanity acknowledges the finiteness of these mineral giants. The photographer approaches the limits of visibility and the imperceptible to make tangible the fragility of these threatened sites. In Fluctuations, she reveals the mountain’s inner workings—the map of hydraulic flows that traverse and structure it in a constant, imperceptible movement that makes it pulse.