Allit’s analogy unfolds a realm of openness, suggesting that the human aspect can delve into the depths of cinema, exploring the narrative of bodily power and questioning the dimensions of humanity. It traverses the dual facets of the microcosm and macrocosm, creating a surreal reality shaped by the immaterial nature, extending far beyond the inquiries about the material body that forms itself.

The pursuit of this Micro-Macro meaning is unearthed from Allit’s reflection when addressed with the moniker “Alit” (in Sundanese, meaning small). Revealing oneself akin to the arrangement of subjects and objects in the universe, Allit presents two modes of expression in an expanded cinematic form, utilizing both material and immaterial mediums. The concept of the gaze becomes Allit’s form, projecting visuals that are small, peering into a medium resembling a viewfinder, and projected through a medium akin to a kinetoscope. This work becomes immaterial, much like the form of God that we cannot physically touch.

Allit enters the realms of Ego and consciousness in the research text on Ibn Arabi’s Cosmological Sufism, Microcosm-Macrocosm, and engages with Ibrahim’s Theological perspectives, as well as delving into Slavoj Zizek’s “The Sublime Object of Ideology.” When the context is structured, Allit provides a dynamic, extreme, and radical view regarding the singular nature of God through the camera medium, portraying a liberal perspective (akin to how Ibrahim interprets the magnificence of God and the Universe). However, this liberal view contextualizes the work more towards the substantive meaning of the “Folded World.” Subject intervention is fragmented, illustrating how Allit traps oneself in a fragile, lifeless interpretation of divinity, where only their perspective is singular, caught in the confines of space and time. Isn’t reality a mechanism wherein the body accepts the conditions of life intimately tied to the relevance of space and time?