Most essentially, modernism seeks to suppress the uroboros and preserve post-Renaissance order by moving to higher levels of abstraction. Therefore, when the classical order of continuous space and time was cast into doubt by the Michelson-Morley experiment, Einstein transformed physics by proposing a more abstract space-time continuum, yet one that still served as a field of objectification for the detached subject. Planck’s microphysical discontinuity was similarly smoothed over by a pseudo-continuous abstraction of space (the Hilbert space), and the “shock of discontinuity” of the photograph was eased by the simulated continuity of the cinema. In art, the ambiguities of Manet and Cézanne were surpassed by the abstract certainties of cubism, and, in philosophy, the existential angst of Kierkegaard and Nietzsche gave way to the “objective” scientific philosophies of the twentieth century. These and other examples of the transition to modernism are examined in detail in Dimensions of Apeiron. There I attempt to show that the aim of modernism in all cases is to maintain the post-Renaissance Projection of object-in-space-before-subject.