The Somnium series was developed following Laurent Millet's initial readings of Kepler's text of the same name. His studio quickly became a distant echo of that of the scientists of Kepler's time, mixed with influences from Graham Bell's notebooks on kites, certain self-portraits of the pioneers of photography, didactic or educational representations, and elements of communication (NASA archives, notably images from simulation laboratories in the 1950s).

The Astrophile series, four years later, is a reinterpretation of Somnium conditioned by repeated listening to Novarina's Discours aux Animaux. Millet imagines himself in that space, in that language, in that solitude straddling the line between instruction manual and biblical narrative. He begins to draw funerary steles intended to appear in a desert landscape. He likens the constructions to his memories of certain theater models, machines, architectures, and Jai Singh's observatories. An open-air theater takes shape, combining the foreshore cleared by the power of the moon, haunted by these installations of wood and cardboard, of glued images that materialize a certain idea of measurement, astronomical observation, and lunar travel.