– a list of epigraphs

The ecstasy of auto-machines which move beyond man’s logic and sensation. And the filmmaker’s desire to “get into” the film instead of possessing it. This ecstasy and the desire are common to all of his films including sequential photograph works as well as his other series such as Thunder (1982), Ghost (1984) and Grim (1985) which are occult experimental “horror” films featuring the technique of bulb shutters and time-lapse photography. In his most recent works The Moon (1994) and Zone (1995), two styles are integrated under the motif of “dreams and memories.”

— from here

A window that had long been nailed shut in my mind swung open and I suddenly recalled a ceremonial procession that I had seen as a little boy.

This was a very important memory for me. It marked the boundary that separated me from my childhood. Something strange and frightening occurred in my soul as the procession was moving past our house, bearing along an altar on a litter. The older I became, the less I understood what had happened on that day. The event itself lived on, vivid and colourful, in my memory, but its imprint was entirely devoid of any content and meaning that might allow me to explain what could have produced such an indelible impression on me. Although I could remember the cords on the altar and even the copper rings on the priest’s staff, it was essentially a memory about nothing. All that was left of it was the outer casing, like the chitinous shell of a long-dead wasp–externally the form, colour and line had been preserved, but inside it there was nothing but emptiness.

— Victor Pelevin, from short story, “The Guest at the Feast of Bon,” trans. Andrew Bromfield

The phenomena of the “towards … “, the “to … “, and the “alongside … “, make temporality manifest as the εκστατικόν pure and simple. Temporality is the primordial ‘out-side-of-itself’ in and for itself. We therefore call the phenomena of the future, the character of having been, and the Present, the ”ecstases” of temporality.

— Martin Heidegger, Being and Time, original work 1927, translated by John Macquarrie and Edward Robinson, 2001

The only way to get to the center of my story was by means of elaborate detours to distant peripheries.

— Daniel Mendelsohn, Three Rings: A Tale of Exile, Narrative and Fate, 2020

In other words, the centre has by now spread out from the event at Paris in 1895 and gone by way of the meeting, also Paris, between Einstein and Bergson, in 1922, crossing all boundaries, including the brain-blood barrier in neuroscience–just like people are dispersed after an historic event, the devastation say of their hometown, that leads the survivors to travel far away to places that, earlier, as Mendelsohn writes, “would have struck these townspeople as improbable, absurd even, as destinations, let alone as places to live: Copenhagen, Tashkent, Stockholm, Brooklyn, Minsk, Beer Shevah, Bondi Beach.”