The Glimpse  is ready. Now the centre of this cycle, The Christmas Eve. The text is dense and quite lengthy. Somehow I can't recognise its true nature and form completely, or straight away. This density and non-uniform rhythm bring dynamism, even nervousness with them. Actually, it is a micro-drama (nano-drama) with a piece of dialogue and an element of action, with some tension and a climax. And yet, because this action takes place in different times seen (again) from some distant future where everything has somewhat doesn't matter anymore, this picture is also quite calm. That calmness is emphasized by the whiteness of snow and frost.

Meanwhile, Easter. The dramaturgy of this holiday, if I may say so, is masterfully choreographed, with a full day of intermission between its two acts. The great gap - the suspension between the symbols of the end and the beginning. The human dimension of time is the dimension of Holy Saturday, between some beginning that happened sometime, one day, and the end that happens sometime, one day. Seemingly nothing is happening, but in fact nothing else is happening; everything that is real fits into this space.

On April 1 Eric Weinstein published his concept of unified geometry, which he calls the theory of everything, in written form. There is something exciting in the thought that a lone, independent and steadfast genius standing against the academy and the system of peer-reviewed publications could again (just like Einstein did 100 years ago) revolutionise science, or even explain everything once and for all. But I have no trust.

Can't Get You Out of My Head, created by Adam Curtis and produced by the BBC and published in February in open access, a 6-episode series depicting the dynamics of cultural-social-economic change in the 20th century, trying to explain the whole situation today. It brings associations to Oliver Stone’s The Untold History of the United States from almost a decade ago, with Stone’s theses probably being much more controversial, though. Anyway, both things are very interesting. 

I start The Christmas Eve with a self-quote. From when I was 23 years old or so. Some F sharp major, some C sharp minor, and various things in between. The world is a great self-quote, or auto-paraphrase, to add something from myself to the theory of everything.

PS. Or maybe human time is the Easter Monday; the day when all beginnings, ends, and breaks have already happened and can be seen as meaningful, symbolic, or not at all; either way life goes on and why not enjoy it. 

Adam Curtis' series bears the subtitle An Emotional History of the Modern World. To my mind, the word “moody” would be even more fitting. These moods are built up by the stories told in the film, focused on specific characters and supported by a distinctive soundtrack. 

W.B. Yeats in his essays writes that the whole visible, passing world is an illusion that must be forced to serve the moods that ensure participation in eternity. 

Mark Solms, a neuropsychologist, in his book that had been published in February, entitled The Hidden Spring: A Journey to the Source of Consciousness, proposes to consider feelings to be the absolute basis of organic life. Why not moods?