Theory, simple cognition of reality, differing from its practical utilization, theory of nature cognition, getting used to the light. The misty haze of a film around things, around the state of mind bordering between unconsciousness and consciousness.
Seemingly incomprehensible, the fact that the film resists straightforward explication. At the same time, places emphasis on personal experience, on subjective feeling, on one's own senses and the fugitive moment, which is based on a strong belief that the world of values is being dissolved by the acid of television scenes, therefore the only way out for searching the light, remains a human. This is a human, a rather old butterfly, which accompanies us throughout the whole film of hesitative nature, which literally arises from the darkness. The trees outgrow the television transmitter, which is climbed by faceless black babies. A young woman lost her husband, one morning he left to get some rolls and he has never come back.
There is no trace, not even a calligraphic drawing by a brush on a white paper, which expands on a canvas, so remote from the hustle of a city or a live transmission of a television insert. The nearest thing to the calligraphy of visual perception is perhaps the human DNA, which a biologist speaks about. The genetic code, which screws in experimental paintings, suddenly disturbed a real boulder, phenomenon scene, in which we watch rolls being baked. They are too hot, those theoretical rolls, it is impossible to catch them and they as an artwork do not give answer to what they really are.
The butterfly is yet to come back with its film wings, get drunk, and dissolve into black again. Adventure of the inside world of film is a magic meditation beyond shapes, colours or the scents of city plants - it is a mood, which submits a report about a trip into the area of dream, which is evoked by telepathy and also the echo of a television signal. The slight butterfly takes us into a paternoster elevator to the original paintings of our world, by which we enter the flowing of free energy of the current media and computer networks. Perception of surface by seeing the depth perfectly penetrates throughout Palát's microscopic film. It offers to us a magical key in one of the first scenes and then it leads us through the levels of visible surfaces, which could be the rudiments of new terms. Thus, providing the theory could be a film, unless it is one already.