When is the actor known but in reflection on the things done, and on how they formed out of the situations in which they occurred? The latter may be massively unfolded so that they pre-empt any questions of coherence, but the former being only an inference has little in the way of granularity and is inevitably riven by discontinuities. It is better therefore to look for the hidden but obvious things in the total presentation, broadening the terms so far as we can discover them. On one side these embrace the realist elements and on the other the oneiric. Awareness can become infected with light, with an ever-opening turning out of surface after surface, so that we forget our roots in the essentially dark, in what cannot be asserted because it cannot be known. Fascination dwells on the encounter of vague shapes in the dark, and secret places which draw us because of something, tragically, irremediably, missing in the day.