The temptation to give up on a life more coherent and admirable than seems affordable after the compromises of adulthood come to obscure the promise and dreams of youth.
The mutability of digital data impairs the value of cinema recordings as a documents of reality. In retrospect, we can see that twentieth century cinema’s regime of visual realism, the result of automatically recording visual reality, was only an exception, an isolated accident in the history of visual representation which has always involved, and now again involves the manual construction of images. Cinema becomes a particular branch of painting — painting in time. No longer a kino-eye, but a kino-brush.— Lev Manovich