In the wake of postmodernist experiments, Chatonsky questions both focalization and narrativity: he aims at elaborating a form of fiction without narration, that is to say without any diegesis or narrative instance, for it is anonymous, machinic and collective: “It is as if a fiction, a machine here, dreamt up our lives and used the very stuff of our existence in its sleep,” claims the artist in a textual manifesto. Now, to what extent do the discretization and the semi-random montage of flows captured on the Web, be they visual, textual or made of sounds, contribute to the emergence of a new fictional imagination aiming to do away with the causal principle, and hence with any narrative logic?