It turns out to be something that the very impulse of philosophy, the impulse to take thought about our lives, inherently seeks to deny, as if what philosophy is dissatisfied by is inherently the everyday.

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.