From the standpoint of an Ethics of Perception of Nanocognition, Bergson and Deleuze stress the need to see perception in itself, and machine ethics interfaces could possibly help us do this through the concept of Cinema 3: the perception-image. Having had only one default (undoubled) means of perception (taking the actualized perceptions of daily life as the only kind of perception, just as we have taken linear, spatialized, narrative time as the only form of time) has meant that we have not considered that there may be multiple ways to perceive, and that these might exist on a virtual plane of possible perceiving, and coalesce through difference into actual perception. At minimum, our nanocognitive prosthetics might be able to introduce and manage the notion of multiplicity in virtual and actual perception.
Bergson-Deleuze exhorts us to notice the doubled, internal, qualitative, subjective experience of lived phenomena like movement, time, perception, reality, and ourselves. In particular, nanocognition allows us to see the full doubling of perception, because there cannot be a doubling if there is only one unexamined mode, if perception in itself cannot be seen. It is only through duration - the doubled, subjective experience of perception (the experience of perception itself) that its virtuality and multiplicity (possibility) can be seen. Importantly, the consequence of seeing the doubled side of perception and reality is that it allows us to tune into the possibility of possibility itself. The real goal of Bergson-Deleuze is not just seeing different possibilities for ourselves, but seeing possibility itself; this is the ultimate implication for nanocognition – conceiving of nanocognition as pure possibility in and of itself.