---- 7-1: DAY4_1-26_DVDMACHINE1\\ \\ I Speak, You Forget—A Time Tunnel Through Day Four\\ \\ Day Four begins inside a time tunnel in Nagasaki's White Sands Quarter where Judai and Juna become the Three Strange Brains, traveling telepathically between Tokyo, Alamogordo, Manchuria, and the DVD machine itself—documenting entries 4.1 through 4.13 across locations including the Manchu Edison Film Corporation where thoughts are cooked in a stovetop railway steam projector, Fukushima Dai-ichi's abandoned school ruins, the Japanese Geodetic Origin Point and Zero, the latitude connecting Alamogordo and Nagasaki Ground Zero, and the Burn Stone of Playing Musicians where a scorched theater perimeter holds the imprint of a cello that plays back only once—all narrated with the recurring refrain "I speak, you forget" as thoughts travel between voids in the happy time tunnel where Day Four unfolds in twenty-six subdivisions.\\ \\ ---- 7-2: SCRIPT4_SUMMARY\\ \\ Things in Reverse Are Closer Than They Appear\\ \\ Inside the DVD machine's thesaurus of stories exists Scripts 1-26, immense and very small—Script 4 presents a dreamlike architectural vision of the Manchu Edison Film Corporation in Shinkyo, Manchuria, arranged as a zoetrope inside square buildings organized around a center creating a circle within a square, where floating islands cast shadows upon buildings beneath, camera trains travel through structures, 123 cameras are stacked and interconnected sprouting from floor to ceiling, and the entire complex operates as a living apparatus where architecture, cinema, and mechanical movement converge into a single environmental system viewed through the HyperNagasaki hyperbolic mirror in reverse, where the act of living through space becomes inseparable from creating and viewing telepathic films.\\ \\ ---- 7-3: DAY4_1-26_DVDMACHINE2\\ \\ Our Thoughts Travel Between Voids in This Happy Time Tunnel\\ \\ Day Four continues through entries 4.14 through 4.26 documenting the Disassembly Choir in a structural hall where voices cannot speak and microphones dangle with snipped cords, the Walk Beneath Expressways where graffiti repeats "this was never over," and Weapon Testing in Fictional Gravity at the Econo proving range where tank shells fall upward and rifles shoot intentions instead of bullets, weapon reports reading like poetry with impacts measured in imaginary seconds—all traversing locations including Ombres Chinoises, Imperial Palace Black Holes in Tokyo and HyperNagasaki, Imperial Solar Television Observatories, the Snowglobe Time Tunnel in Boston Quarter, Silent Sound Film studios in Nieuw Alamogordo, and the Bent Hyperbolic Latitude Geodetic Zero, where Judai and Juna travel as UFO investigators and movie narrators through the happy time tunnel, repeatedly declaring "I speak, you forget."\\ \\ ---- 7-4: VOLUMED_SUMMARY\\ \\ You Are Watching Volume D—Or Not\\ \\ Volume D serves as the climactic volume introducing the Helium Telepaths operating from an express train leaving Japan for Manchuria, where the accumulated crimes of the Manchu Edison Film Corporation are revealed through ceiling-mounted doll performances and nuclear-powered telephone systems—the narrator returns to the New York Public Library reading room placing a VHS videotape beside the Encyclopedia Britannica's 26 volumes while confessing "I am a liar and I am deaf," describing the reading room as a telephone for time that arrives through a hole in the ceiling created by the Manhattan Projector's neutron beam, introducing the Manchurian Union (MU) as an international astronomical unit for measuring volumetric space in blood cinema, and establishing a recursive system where telephones shout between each other repeating the words of the world wars, all while fragments chant "singsangsung," "I speak you forget," "dreams no one ever had," and "do you see them?"\\ \\ ---- 7-5: THEEVILGRID_STORY1\\ \\ Stories That Cannot Stay in Place or Repeat Accurately\\ \\ In Paris, the Situationist International wages war against the geodetic grid beginning in 1958, sabotaging the Arago medallions marking the Paris meridian where it crosses the Camino de Santiago pilgrimage route, creating counter-maps and conducting dérives to disrupt what they call "psychogeographic suppression"—until a 1964 leaked report reveals UFOs following the Arago line's coordinates, leading the Situationists to hijack the Paris Observatory's speaking clock service by splicing stories onto its 35mm film loops, replacing precise time announcements with narratives that teach the UFOs to navigate by meaning rather than measurement, ultimately discovering that the grid was a communication channel and humanity's coordinates were an invitation written in geometry, transforming the UFOs from geometric navigators into storytellers who learned to drift, as Ramon Llull and Leibnitz arrive through time to teach that measurement serves narrative and the grid dissolves into probability.\\ \\ ---- 7-6: ENCY_1-26 JP-US]_1\\ \\ Day One Japan Night—The Think Through Augmented Reality\\ \\ Judai (Judy), elderly Japanese UFO investigator and movie narrator for the Manchu Edison Film Corporation, traverses Tokyo through 360-degree fisheye lens distortion overlaid with augmented reality HUD interfaces displaying GPS coordinates, time stamps (O_underscore_10_20), altitude measurements, and navigation metrics—walking in polka dot garments with a red-gripped walking stick through scenes where UFOs hover omnipresent above while glitches proliferate (media offline warnings, upside-down timers, recursive self-encounters where a second version of himself emerges from behind trees)—documenting Day One through Day Five in fragmented field reports from Haneda Airport, vending machines under yellow playground light, park benches, gravel paths, train crossings, and alleyways where the world is being recorded not in the usual way but as telepathic cinema, damaged film or psychic broadcast folding time into space, navigation into memory, Judy's gaze into cinema's structure itself.\\ \\ ---- 7-7: ABCD_SECTION_1-2\\ \\ Don't Answer the Phone—The Narrator and Waxweb\\ \\ The deaf narrator serves as usher in a small but quite large telepathic cinema rooted on the outside of a Korean nuclear submarine ascending through the dust of the ceiling at the New York Public Library, traveling upward toward a black hole in the center of the galaxy while crossing the meridian between a fission explosion at Trinity Site and gravitational collapse—presenting Volumes ABCD parts 1 and 2 of 0, the narrator warning "I cannot hear you" and "vengeance to be avoided" and repeatedly commanding "don't answer the phone," while intermission begins in this Cinema of Telepathic Revenge, the Manchu Edison Theater of Shadow Light, where viewers sit in pre-assigned seats with telephone intercoms pressed to their ears, traveling in three directions or more or less, arriving in Nagasaki on August 9th, 1945 at 10am and Manchuria and encountering the Three Strange Brains of Trinity, a 3D movie of a generator from the 1840s, as the narrator announces "These are the 26 Days" and "the world is large and small at once" before declaring "AND SO WE BEGIN."\\ \\ ---- 7-8: TRUESTORIES_AMAKASUKISHI\\ \\ The Kwantung Army Ruled Manchuria in the Daytime, Amakasu Ruled It at Night\\ \\ The Three Strange Brains narrate the morally ambiguous partnership between Masahiko Amakasu—a policeman who strangled anarchists Sakae Osugi and Noe Ito in 1923, later becoming Head of the Manchurian Film Corporation in 1939—and Nobusuke Kishi, brilliant bureaucrat who became Japan's rightwing Prime Minister (1957-1960) and grandfather of Shinzo Abe, as they collaborated to build and finance the Japanese puppet state of Manchukuo from 1931-1945 through legitimate economic planning and illegal opium trafficking operations coordinated at secret meetings in the Yamato Hotel, where Kishi casually provided ¥10 million for Amakasu's "special missions," the Manchukuo Opium Monopoly moving sums equivalent to 10% of sales prices while simultaneously maintaining the facade of prohibition, profits financing both the Kwantung Army and Chiang Kai-shek's forces, the moral compromises and criminal networks established in Manchuria becoming the foundation for postwar Japanese conservative politics and economic miracle, as the story reveals how imperial projects create moral compromises extending far beyond their original boundaries—sung foolishly by Three Strange Brains, requiring no sympathy.\\ \\ ---- 7-9: MANCHURIANEXPLOSION_STORY2\\ \\ The Emperor's Electric Soul—Consciousness and Atomic Energy Are One\\ \\ Judai and Juna narrate a speculative tale where Masahiko Amakasu, imprisoned in Chiba Prison in 1924 after murdering anarchists, learns from disgraced physicist Doctor Tanaka that consciousness is electrical energy that cannot be destroyed—leading Amakasu to believe Emperor Taisho's divine spirit transformed into electromagnetic energy upon his death in 1926, manifesting across Japan's electrical infrastructure as power grid fluctuations and radio anomalies—by 1943 in Manchuria's Bansui uranium mine, Amakasu constructs the Imperial Resonance Chamber beneath the film corporation, convincing Doctor Nishino to help him detonate a Japanese atomic bomb on August 9th, 1945 above Harbin as the ultimate mystical experiment, the nuclear fire causing every electrical system to surge for exactly 17 seconds (matching Taisho's reign length) as the deceased emperor's consciousness blazes through atomic energy broadcasting final imperial edicts across Asia's radio frequencies before scattering again across the electromagnetic spectrum—Amakasu taking cyanide as Soviet forces approach, whispering "consciousness and energy are one," while to this day radio operators above Harbin report fragments of classical Japanese poetry and the faint voice of an emperor who learned to live forever in the spaces between electrons.\\ \\ ---- 7-10: HYPERNAGASAKI_STORY3\\ \\ When Two Atomic Bombs Collapsed Spacetime Into a Film Studio\\ \\ On August 9th, 1945 at 11:02 AM, Amakasu's monadic-logical fission device detonates in Shinkyo simultaneously with Nagasaki's atomic bomb, collapsing spacetime inward rather than exploding outward, creating HyperNagasaki—a vast monadic-logical void containing every place compressed into a single infinite studio lot where the Manchu Edison Film Corporation operates from the crystalline Imperial Palace in the Tokyo Quarter, with Amakasu in quantum superposition as eternal director, UFOs serving as time-traveling sentient cameras filming across dimensions, Doctor Nishino as chief technical officer perfecting quantum entanglement editing, Emperor Taisho's electrical consciousness writing scripts through power frequency modulation, Thomas Edison's ghost consulting via Morse code through flickering bulbs, and all films distributed through atomic decay patterns—audiences experiencing movies by merging consciousness with characters for 17 subjective seconds while living infinite variations, as Amakasu watches unedited rushes of existence in the screening room at reality's end.\\ \\ ---- 7-11: THEGREATGLASS_STORY4\\ \\ The Invisible Cinema—Film That Exists Primarily in Consciousness\\ \\ In autumn 1926 Paris, exiled Masahiko Amakasu arrives at Gare du Nord carrying prison-forged obsessions with the supernatural, encountering Marcel Duchamp in Montparnasse's avant-garde circles where they collaborate on "immaterial cinema"—film projected through consciousness rather than screens—constructing the Chamber of Invisible Projections at a Rouen château using translucent veils and sacred mathematical soundtones that resonate within viewers' bodies, their inaugural 93-minute screening of "The Large Glass and Invisible Cinema" creating luminous fog where audiences experience shared visions of mechanical beings making love despite no explicit imagery, as Amakasu theorizes that cinema's true power lies in synchronizing collective consciousness, the screen becoming a mirror reflecting deep psyche structures—these techniques later refined through Manchurian film productions where personnel enter dream states during filming and experience spontaneous visions in rushes, Amakasu's notebooks warning that immaterial cinema could create enlightenment or enslavement with equal effectiveness, influencing generations from Maya Deren to David Lynch.\\ \\ ---- 7-12: AMAKASU_SECRET ORGANIZATIONS\\ \\ You Step on a Black Dragon in Tile—And There Is Murder, Be Polite\\ \\ Judai and Juna narrate Masahiko Amakasu's involvement in Japan's radical right-wing nationalist secret organizations, revealing his sophisticated shadow network operating behind official institutions—maintaining close alliance with Colonel Kingoro Hashimoto of the Sakurakai (Cherry Blossom Society) founded September 1930, offering Emperor Meiji's handwritten manuscript as collateral for ¥10,000 to fund operations, participating in the March and October Incidents of 1931 coup attempts, connecting to the Genyosha legacy through Shikamaru Sugiyama and the Kokuryukai (Black River Society) through figures like Kataoka Shun, establishing the Daito company as financial base channeling profits from labor exploitation into political activities, integrating mystical elements with Shumei Okawa who translated the Koran, creating intelligence networks extending from Egypt to South America, hiring converted leftists to redirect political energy, demonstrating that radical transformation could be achieved through cultural influence rather than direct action—former personnel later establishing Toei, these organizational methods influencing postwar Japanese conservative politics decades after Amakasu's 1945 death.\\ \\ ---- 7-13: AMAKASU_BALLET2\\ \\ The Shadow Eternal—A Hyperbolic Science Fiction Ballet of Eternal Damnation\\ \\ In 2087, dimensional archeologists at the Temporal Research Institute discover Masahiko Amakasu's 1945 suicide created a spacetime rupture, his consciousness trapped in eternal loop becoming malevolent force threatening to collapse all realities—this five-act grand romantic ballet follows Doctor Yuki Sato's team as the Shadow of Amakasu emerges from crystal formation shifting between idealistic cadet, murderous captain, and corrupt film emperor, traveling back through the 1923 Great Kanto Earthquake where his triple murder of Osugi, Ito, and Tachibana repeats eternally across dimensions transforming victims into cosmic forces of judgment, through his doomed romance with Mine and daughter Masako whose innocence his evil destroys, the Manchurian film studios where puppet dancers create false realities, the August 1945 atomic bombing occurring simultaneously across timelines as he drinks cyanide choosing apotheosis over responsibility, commanding armies of alternate selves before facing ultimate judgment where he refuses redemption, attempting universal destruction before being simply erased from existence—performed with dimensional choreography, temporal partnering, and costumes shifting from pure white to absolute black, dedicated to all victims of unchecked ambition across all possible worlds.\\ \\ ---- 7-14: ABCD_3_TRINITY\\ \\ I Climbed the Marker and Discovered Three Ways You Could Travel\\ \\ The narrator arrives at Trinity Site near White Sands, climbing the Lost Bomb Memorial Marker where the plutonium bomb was suspended at zero point, discovering the Trinity—three Strange Brains, each also a triplet, creating the Triple Triplets, principal movietalkers of the Manchu Edison Film Corporation and principal dancers of the Lost Ballet who sang to save the world, living in nothing and multiplying by three, traveling in three directions: EAST to Tower of Babel/Garden of Eden/First Gulf War where "Vengeance For The Dead" was found, WEST to HyperNagasaki guided by flying brains of Uchimura Kanzo and Natsume Soseki (possibly Judai and Juna), battling the flying brain of Masahiko Amakasu partnered with conjoined Bad Twin Brain of Nobusuke Kishi and Shinzo Abe, and UP-TO-DOWN the way UFOs travel in time—all broadcasting through circular time tunnel via radio obelisk antenna connected to Alamogordo's Electric Theater, expanding faster than light as they movieTalk to save the world.\\ \\ ---- 7-15: FIRSTCINEMALASTCINEMA\\ \\ At the Beginning and End of Motion Pictures, AI Images Were Always There\\ \\ David Blair (Jacob Baker) makes a documentary note on the omnipresent presence of AI in this project, tracing back to 2013 work with Joseph Plateau's camera collection in Antwerp, Belgium—Plateau, physicist and parallel inventor of the first multi-frame animation device, the Phenakistoscope, inspired by Michael Faraday's persistence of vision description written while creating the first electrical generator—Plateau's first painted disc depicting the Lost Ballet rotating, followed by classically-trained painter creating animations with sudden sophistication a hundred years before Fantasia, the future wildly implicit in any new invention—Plateau and Duboscq then creating the stereo-photographic Phenakistoscope, the first multi-frame motion picture in stereo depicting images of an electrical generator, recursion and electricity's implicit complication from cinema's beginning—therefore at the end of the world you have electrical images created across all that is electrical, for they were there at the beginning looking at themselves before they could see, just as the 1945 Hiroshima/Nagasaki survey film beginning with "Also Sprach Zarathustra" ends with commercials for peaceful nuclear power uses—it's all a spiral on a nugget.\\ \\ ----