Abstract
Using the artistic works of Gottfried Jäger and Karl-Martin Holzhäuser as examples, the text examines the phenomenon of the digital mode of production of abstract images. The design of the artworks examined is based on mathematical procedures and calculations, i.e. on probability and traceability. Nevertheless, they look like photographs of technical objects or of light reflections of shiny surfaces. The analogue images, are probable artefacts from the world, the digital images are improbable hypotheses from thought. The interface where the incommensurable mixes is the property of the immaterial, for both light and thought are immaterial. Only then, when they come into the world, do they have to be materialised by suitable processes and techniques in order to give them a shape that can be object or sign.