Double projections on random surfaces, intermittently synchronized, create moments of fleeting harmony. This interplay evokes Derrida’s différance, the continual shifting between sameness and difference through which meaning emerges. Simultaneously, it reflects Kierkegaard’s infinite interestedness—the existential striving to reconcile the finite and the infinite, the temporal and the eternal. In both cases, tension and oscillation are not problems to be solved but processes to be inhabited: the video enacts the rhythm of meaning and existence in flux, revealing harmony that arises only in the movement between opposites.