From a central pivotal position, the camera eye (in this case, the hard and inflexible eye of Minerva) looks out upon twelve ing scenes. None of the scenes are necessarily associated with specific signs of the Zodiac. Lawrence Jordan instead assembled twelve of his collages and ed them in review before the deity (who, as he has noted, never revealed her pleasure or displeasure with these images). The filmmaker underscored the mood of each scene with a short age of music. One might say that theses scenes are not meant to convey particular meanings to a viewer but are intended to represent various entrances or, as the Egyptians called them, hidden or false doors to the siprit world, the world of the dead, the Underworld, the Bardo or, simply, another plan of reality: verities of the soul in Symbolist .

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