. . . the sacred—the cut off (etymology: sacer, “the power, being, or realm understood by religious persons to be at the core of existence” that is cut off, set off or apart, restricted . . . “to have a transformative effect on their lives and destinies.” [source])
. . . the sacred shot = the mystery of the shot.1
The shot, sacred through delimitation, cut or duration.
“The sacred is not a sanctuary, I’m moved to remember; it’s a force field. In many ways a forest fire. You can try controlled burns or back burning, you can walk towards the heat, but its power comes from the fact that it can’t begin to be controlled, or anticipated.”
— Pico Iyer, from the book pictured below, with the slippage afflicting the title:
. . . the surface of the text.” the review excerpt continues, below which, the murmur. . . science learning from silence.
…
- a reference to Mark Cousins. I use the phrase to designate the untimely, the contingent motion of leaves, smoke and, the first cinematic genre, the films of which comprised a single shot, waves. The draft versions of an ongoing writing on cinematic time are collected at the left margin under Desire and Ecstasy ↩︎
