all this to say, what? well, obviously, weizman obviously isnt describing actual time travelling, but its funny how our worlds version of it does feature what we could possibly count as nearest to it, and that is precisely hauntological politics and abominable cruelty, bureaucratic machines simulating violent endeavours, enacting, and then retracing them, living in their spirit. ekko preserves his time and actions away from the machine of capture, whereas in our world, small worlds are shattered to preserve the status quo of the state. the state takes all varied experiences, and systemizes and analyzes them, puts them in archives, and then retraces them for their validity. this is both its biggest strength, because it becomes the governor of time, but also its biggest weakness.

the state can't speed up the entire movement of the universe, unlike in jojo, but it is in fact studying it so that one day it can perform that type of violence, shown but never truly fully shown in movies such as interstellar, where time and intimate affectivity is ruptured by distances in between worlds moving at different times. if the state could use this power, it would, so that it can "enact spirit" (shatter subjectivity as commanded by capital). the state can't make weapons kill you whilst still returning time to their holder, but they can make weapons kill you before the carrier even knows they have, and they can accidentally locate your murder in an inventory of shadowy states later, they can call back the memory of your death like a shadow-wielder.

he's a researcher, which is a modern day philosopher. why? because you can't study or teach what is above you in quality and weight (capital), you can only ever really be something in between an admirerer and impacted, you are searching for its points over and over. he is there, searching for his own actions, because he is committed to capital, he's there to enact capital, not his own actions ultimately. he's researching capital, the rest is secondary. he goes to re-enact and resurrect his failures in their dead form, so they can serve as museismic and archival artifacts of capital, they're auto-artifacted, but also, he's there to optimize and archive the process itself, and this ultimately is why you can't be a devotional admirer of capital in the old sense of devotion. you can only ever be inspired, but optimization, as an ethico-ontic process, disallows literal praying, he's simply there to be devoted to the system under which he acts.

he killed himself in a certain sense, capital doesn't allow refugees or victims. they don't count, in their social roles, as really ethically impacted beings to capital. marc, in a certain sense, is the victims he blew up, he's there to witness the destruction of his own building complex, in the name of the sacrifice to the gods of capital, of the symbolic vip, the symbolic us-manufactured terrorist. terror is exported, brought back - imported - terror arrives as an alien from the future (dialectical, not literal) but then it takes itself back, terror re-appears to examine itself, not allowing the conditions of that world to be terrifying on their own.

weizman could have looked at every universe to find the clearest possible solution like the marvel wonderman, but it wouldnt have stopped the threat from existing. this is why the dead are dead for stephen to perform them in their own rupture, because obviously they didn't die to prevent a threat if the threat is always a by-product of these systems existing in the first place. you could empirically and materialistically link all the sources and networks together, but at some point, they grow so powerful that the concept of probabilities and temporalities does in fact get breached. its difficult to comprehend weizman's philosophical and forensic arrogance in these passages, but it ends up making sense, when you have to find the religious purpose behind it.

obviously, as he says, when something like the difference between twenty nine and thirty lives is in question, there has to be something more behind that abstraction, it can't literally just be a formalism that actually expects reciprocal ethical engagement to its demands, the cynicism is too intense for that. this is why this is in fact about time travel, no matter how hard to comprehend. the state could never create real time travel. if you gave the indigenous, following derrick jensen's orders, they quite literally could really have done that. this is because magic is turned down by the state's logic, and magic does exist. time travel is one of those things that was withdrawn backwards from existing concepts - like war simulation - largely in a bit to make sense of these processes.

this is why time travel, both the micro version in ekko and the macro groundhogs day version, are abstractions of different things (one is a simulation of running from the state - because the time for lethal decision making is really limited to a few seconds, thats exactly why its a few seconds, because it needs to make sense of impact under war. do you really think impact was calculated in a few seconds before capital accelerated it? of course not) this is the only way to make sense of it. same with the macro events, theyre a critique of everyday life, like in lefebvre, when the days all blend together.

so indigenous, magical time travel would actually be a third thing we can't exactly make sense of yet (but can speculate on, as i'm about to), since it had no time to exist - or it did but we dont and cant know about it due to its anti-archival logic. this shows that beyond the bureaucratic machine or the micro world of affects (which, indigenous time itself likely inspired ekko's concept), anti archivality could also be a form of time-dilation. time reversals can be thought of as grasping onto a sort of consistency that relates to the way the state perceives of time, something the speculative indigenous could have or would deny. the difference between tactical rewinds and cosmic rewinds is clear.

the difference between indigenous rewinds and destined ones is that the concept of consistency and archivable density is found in movies like groundhogs day, and toyed with in memento, but its exactly the way that modernity plays with cosmic destiny, vs the way ancient ritual logics would have (against consistency, towards plurality). but the difference between something like madoka magica and weizman's garlasco, beyond the point of a continuation of days vs. a single day, also hides a darker function:

the state doesn't hold onto the concept of destiny unlike in fantastical rewinds. destiny for the state is simply an act, its a destination, not a result. the state cannot proceed with results, its rewinds are vaporizations, it can only crumble what it can't hold together, it falls apart. this is why the gaza-israeli beachsites feel uncanny, not just because like in the movie "zone of interest" they show how the mundane is the cruelest regardless of if its a banal aristocracy or a repressed dominated society (two faces in one), but also because those beachsites are taped together, not literally in that they show cracks the way athens shows glass panels to past civilizations buried under, but in a much more mundane way, it deletes its forensic character, the investigators and researchers remove its spatial connection to the past in an attempt to correct it and hold it together into consistency, causing it to decay and create some type of plastic territory, something that resists detail and complexity the way we understand them. the mistake is thinking that the genocide isnt successful in memory - it very much is - but it is fundamentally useless nonetheless.