It's a technological baroque house with digital dislocation that simulates folds: Display as inward concavity, ans sensor as inward convexity. Here, we only receive materials essential or unessential to life, without questioning what's beyond the wall simply because technology won't allow majority of us to interrogate its newest product. As the moral of consumerism suggest, we talk to our dearest friends and families without doubting their non-physical presence, and we travel the universe with multi-dimensional treadmills and variable-speed/humidity micro climate control systems; We see, hear, sense everything beyond linear-space and linear time. Rather then being aware of or trying to revolution against "network sovereignty," We either celebrates our stupidity as a form of technological simplicity, or meditates through this complete escape and enclosure from physicality that can not be more real than real, thus can not be as believable as the virtual reconstruction, recalculation, and recalibration of the its precedence. Two collage materials are from the film. As much as I'm always attracted by the final scene of the movie - a technological trajectory of space with series of existential events, I'm also intrigued by its possible associations with Deleuze's The Fold: Leibniz and Baroque. If the interwoven body (materiality) and indiscernible soul (abstract relationship) are two sides of a fold, or two floors of a baroque house, then the silent space projected by Space Odyssey is simply another fold, or floor of a baroque house. As a result, the old guy and his breakfast (meal) is just another soul that is contained or co-found with the background silence.

The water can fill all the way up to the horses chest. Emily is next to the controls for filling the water and the speed of the treadmill. The horses were only going at a nice walk