The Esthetics of Disappearance is derived from a phrase coined by French theorist Paul Virilio, who remarked that the energy of the cinema and, by extension, video derives less from the ephemeral content of each scene than from the edit points or "interruptions." As Callas traces a tangential progression from theatrical space to "speed-space" via cinema and television, the montage accelerates to the point where speed begins to destroy content. Flashes of Japanese cinematic images are overlayed with a profusion of patterns and text inserts, tracing an explosive trajectory of cinema, speed, light and war. 1930s German youth music sung backwards in Japanese, then played forward, is the haunting soundtrack.