"These are huge, even colossal, temporal modules of the transition of all things toward their end, which—from our minuscule, singular, finite, and perspectival temporal module—make us see as static and permanent what is impregnated and corroded with temporality, fluidity, and terminality. It is as if being itself appeared while already hiding its decaying nature. The human mechanisms of concealing the terminality of being follow the concealing rhythm of being itself; every human tends to hide their terminal temporality and its frightening lack of value behind a slow and reassuring temporality. If we could grasp, even for an instant, the swift temporality of the terminal nature of being—like that mad scientist in Terence Fisher's The Man Who Could Cheat Death (1959), who ages and dies in a few seconds in front of the cameras—we would be horrified. We can endure the terminal nature of being only because it is given to us little by little, in a periodic temporality."