I was mistaken to think that a purely spatial orientation would suffice.
If we see our Mystory, separated into the 3 (or so) discourses of the popcycle, the logo, and reflections on wabi-sabi as a film, then what I have decided to do is to create "another narrative," an impossible narrative through the pictures I am going to both take and select. My image-texts, derived from fragmented elements of my Mystorywill now be re-arranged to suggest one "day in the life" of Jake. Scenes from the everyday. However, some of these images will be constructed in the present, some will be taken from the past; some I will take myself, some I will take from others. This "one day" approach, beginning with "Let there be light" and ending with "Bedtime is immanent" will allow me to "produce time." The images still won't "move" in an illusion of cinematic continuity, but they will create a sense of the day's activities, which cannot be a day because some of these images have been created in a different state! Akerman writes, "I want people to feel the time it takes, which is not the time it really takes" (196).
I am going to put into practice the role of the possessive spectator, who "commits an act of violence against the cohesion of a story, the aesthetic integrity that holds it together and the vision of its creator" (Cinematics 207).
This may at first seem to contradict our instruction to "receive as a mystic," but I have received from my Mystory receptive and suggestive phrases. I must now re-assemble them into an "affective unity or common thread of feeling or being" (93).
The "impossibility"/surreality of this image sequence/day narrative will be increased by the narrative's suggestion that a woman came to me in a box.