This is cosmo-phenomenology By Mitra Azar Everything is oriented. Matter is POV (Point of view)-matter. Since the formation of the first protons and neutrons few millionth of a second after the Big Bang, the fundamental blocks of matter produce orientations (or “spins” within an electromagnetic field). In this phase matter is inorganic POV-matter. This is POV genealogy. The very same inorganic blocks of matter develop into organic forms of life capable of producing an orientation or POV within the regime of visibility of the organism’s ecological niche intended as the Umwelt or ensemble of affordances between organism and environment. Spin and field turn into POV and Umwelt. In this phase matter is organic POV-matter. This is POV archeology. Nevertheless, how the difference between inorganic and organic POV-matter, comes into being? Organic POV produces a gap between the continuous action-reaction characterizing the functioning of inorganic POV-matter. In human being the gap is circa half a second. The gap is where the action-reaction circuit is interrupted and affect emerges together with perception. “There’s no perception without affection”, says Bergson. Orientation functions at this stage as the expressive manifestation of affect. In this phase inorganic POV-matter turns into organic POV-matter. Thus, orientation functions as a phenomenological feature that cuts transversally the divide organic/inorganic and can help outlining the agential relations between diffused and oriented agents operating in the zones of indetermination between the inorganic and the organic. Furthermore, the relation between inorganic and organic POV-matter is harnessed by a technological form of inorganic POV-matter. In their technological instantiation, spins and fields are geared towards the construction of machines able to generate technological POVs overlapping and ultimately bridling organic POVs and their Umwelten. In this phase inorganic POV-matter is technological POV-matter. This is POV-apparatus. POV-apparatus transduces the relation between the inorganic POV-matter phase and the organic POV-matter phase. Once inorganic POV-matter turns into the expressive function of complex systems such as human societies, POV-matter turns into a techno-cultural product, in the form of analog machine first (painting, analog photography and analog cinema) and of digital and algorithmic machines later. Analog POV technology of vision harnesses organic POV on the side of perception, aiming at shrinking the distance between technological and organic POV - such as in the case of cinematic POV, a type of image able to generate the seamless overlapping between camera, actor’s body and spectator’s body, thus producing the seamless overlapping between the inorganic, the organic, and the technological. 21 century digital and algorithmic POV technologies in the form of machine sensing, attempt to harnessing organic POV on the side of affection, attacking the affective gap or missing half second between action and reaction defining organic and specifically human POVs. By doing so, these technologies try to prehens the affordances defining the relation between organic POVs and their Umwelten by designing POV-data doubles retro-actively producing the affective subjects they’re generated from. This is the only way algorithmic POV technologies can currently and vicariously access affects despite their incapability of producing the gap at the core of organic POVs. This is POV-apparatus turning POV-opticon.