Koyaanisquatsi in a sentence

In fast motion the escalators vomit people, not one at a time as if it were first one person up and over then onto the next, but as a continuous stream, time dissolving people into a single organic mass—even as, outside, in the darkling night of the cityscape, this alchemical time transmutes automobiles into red streaks of headlights, the resultant plasma comprising no longer merely inert objects of technology, but objects of the same biology as those escalator-vomited people, part of a contiguous whole—and this fast-motion stream is infinite (without beginning or end, no offer of rest, but only life, connected, systematic and obscene), and it carries us, trembling and nauseous, up with it, as we see within it humans and technology as an organized mass, individuals as technologized life subsumed, mitochondrial, under the adumbrative biology of Humanity, a biological process proceeding in the streets and towers of the City, the biosphere of glistening glass and metal—one biosphere among many, among a multitude of worlds scattered bewondering over the surface of the Earth, but even as the film reveals these other worlds (jumping betwixt them, creating of them a melding of moonlight and music, ominous, oppressive and revelatory) the escalator and the streams of headlights in the night remain effervescent, inescapable, a question mark embedded in the triadic junction between humans and Humanity and the natural world, a junction the meaning and definition of which remains elusive as a Snark—and we are made to ponder the city of glistening glass and metal and the streams of people and streaks of red light it houses, and yes, this great organism of ours is overwhelming: we are not reassured of our place in it, nor of its place in the natural world; we are left only to wonder at this great spectacle we have wrought.