While some try to move the media revolution forward incrementally, there will be a few who will experiment with ideas that have the potential to more radically shift paradigms, like Borges’s “The Garden of Forking Paths” and the “Aleph,” or Dziga Vertov’s 1929 film “Man with a Movie Camera,” which was, as Vertov famously introduced it, “made with the intention of constructing a genuine international and absolutely visual language of cinema, on the basis of its total separation from the language of theater and literature.”

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