Machine, Admissibility, and the Cinematic Instinct: A Possest–PQF Reading of Bergson via Zanfi

Abstract This paper reconstructs Bergson’s “machine” as an operatorial regime acting on an immanent admissibility field D, rather than as a metaphor about technology or a sociological label. The cinematic mechanism is formalized as an operator (Cine) that stabilizes slice-frames and systematically renders the deformation of access unread: novelty is misrecognized as frame replacement while the rules of visibility, viability, and transmission deform in the background. A Possest–PQF grammar is introduced to make these claims auditable by failure signatures rather than defended by interpretation. The analysis develops a minimal operator stack (Mach, Cine, Spec, Proj, Clip, Accel, Scale, RI, Lau) and shows how corridor contraction under specialization, time-asymmetry when Accel outruns RI, and population-level clipping generate hard exclusions without invoking any external normativity. An audit appendix extends the framework to contemporary regimes (digital platforms, institutional AI, financial systems), while minimal formal models clarify why correction bandwidth collapses under accelerated enforcement. The result is a transferable, test-oriented method for diagnosing machine-regimes as compositional structures that redistribute what can be enacted, sustained, and made viable within immanence. Keywords Bergson; Caterina Zanfi; machine; admissibility; cinematic mechanism; operator calculus; Possest–PQF; failure signatures; specialization; discretization; platform regimes; institutional AI; financial systems; acceleration; clipping; Recursio Intensitatis