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|a Like the category 'e' films of Jean-Louis Comolli and Pierre Narboni (21), the contemporary blockbuster sets out in support of the dominant ideology but contains, in this instance in its technological foundations, an intrinsic contradiction. They contradict Wittgenstein (22): they are not reduplications of what is the case, but statements of the non-identicality of the present, from which springs all possibility of future change. More than contradictions, the vector's trajectory points into an unmapped future, suggesting that the work of remaking media need not be limited to remaking technologies, but to exploding the forewarned and forearmed managerialist commodification that the grid expresses as the iron fist of the market, and the perpetual status quo of risk management in a polity where elections seem to be won exclusively on the basis of fear of change. The vector, and the contradiction between vector and arithmetic forms, including the very screens that contain them, point, with all due trepidation, towards a distant shore where things are no longer as they are
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