CAUSAL VIDEO AND ITS EFFECT ON A FILM OR APPROACHES TO THE WAY THINGS GO.
The causality and interweaving of cause and effect, the causal nexus, is an obvious matter agreed upon in Occidental as well as in everyday life, although no one is inclined to comprehend the related, necessary concepts. But nevertheless: I wish to hang up a picture, I'm not paying attention while using a hammer and I hit my thumb, which swells up and hurts. The pain forces me to a doctor. The doctor earns good money and travels to the Far East where the whisky knocks him over which is why, due to certain circumstances which we must refrain from passing on at this point, he hits his thumb with a hammer. So what? It could very well happen that someone there in Asia diagnoses: "Doctor, the hammer fell on your thumb in Thailand because Mr. Kapielski's pictures in Berlin did not wish to be hung up".
I hereby simply wish to proclaim that there are indeed ways of thinking that question our strict ideas of causality, which turn effect into cause or interpret causes in a dubious manner as in the case of superstition.
Now the thumb story mentioned above is a story, indeed an extraordinary one but still completely plausible because improbable, but nevertheless functioning: word and casual chains can be formed effortlessly with language, in stories and with mysticism. Linguistically you can always somehow resolve it in a satisfactory manner!
However, the language structure must be right and when Kant in his Critique of Pure Reason attempts to explain the general principle of causality - as a category no less, for a priori and solely for the area of experience - as valid, then the chains of words and sentences themselves must also obey the constraints brought forth. Therefore, everything has to fit in carefully and be plausible.
That is not easy!
Indeed, nothing at all is easy with reality: I hit my thumb and the doctor doesn't travel to the Far East! It is quite difficult with things and objects; they are obstinate, composed, idiotic (Greek idios: strange, peculiar, capricious). The simple, thightly closed secret of things is presumably that they haven't got one at all - which makes thins ever worse! And so they just serenely stand around. The object says it itself: it stands, lethargic and stubborn, and is from the very beginning against being changed, moved or giving up its blessed as-is being. Strength and calculation are necessary in order to move it.
Consequently, we have to force weak, soft-limbed, presumptuous, but nevertheless industrious, people from one thing to another: hammers, plinners, nails, saws, all these tools have something violent about them, but violence alone does not achieve anything. The good, skille manual worker needs patience, adroitness, sensititvity and cleverness. When all this bears fruit, he even succeeds in making something we call a machine.
