Rhythm appears as it disappears. This is the perception of Unity. Everything in life is composed of rhythms; this is the simplest element of Nature – and consequently of the dramatic-narrative, a reflection of this Nature. The smallest unit of a thing is not the smallest-of-all-things, but a paradox: two unstable elements in a harmonious singularity; of which all substance springs, and all form resonates – as above, so below. The material universe, the law, narrative: each when broken down to its finest logical component is left with an equivalent relationship of MATTER // ANTI-MATTER :: ACTION // REACTION. Manifest from the unfocused inner-charge of one's self, something begins to stir; this is the magnetizing towards an intersection, an impression to be washed out of you, and on its exit will be called a feeling felt. Tension, Suspension, Relief. Or, per William Archer, "To engender, maintain, suspend, heighten, and resolve," the state. A great task hanging over the artist, then, is the recognizing, and bringing to fruition, novel arrangements from a sophisticated cultural palette, of various devices, justifications, and abstractions. Adhering to the principles of Nature, the widest perception of the work will be of one movement, of an elegance, of one identification, a symbol to be downloaded, locking as a node into the society's field of play – thus, the structure / design which contains the temporal energy of the film is taken as the highest expression of the unity's rhythm: the more specific and detailed the emotion, the higher complexity required at its most efficient – always, however, as simple as its function. Relationships.
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