The Chinese expression Qu Jing Tong You – literally “a winding path leads to quiet seclusion” – conveys the idea of a conceptual space out of time, or better, a space suspended in a non-linear and non-eschatological time, where (and when) visions of life’s countless circumstances can be repeatedly materialized and delivered. The inner wisdom of this proverb seems to be developed in the novel “The Garden of Forking Paths”, written by Jorge Luis Borges: in it the spy Yu Tsun, while hopelessly trying to escape capture from his enemy, an inevitable destiny, runs into a revelation about his ancestor Ts’ui Ben and his unfinished novel, planned like an inextricable literary labyrinth – the “garden of forking paths” itself. Borges’s narrative strategy, as it is articulated, contains a core of simple truth: the world is just too layered to be embraced and understood at a glance, so are its phenomena. To enumerate them is impossible, therefore, instead of making lists – another concept Borges was fascinated by – of what can be found “under the sky” (in Chinese tian xia) it is far better to try to examine the mechanisms of their functioning: repetitions, recurring patterns or slight shifts in perspective, and again turning points and unexpected convergences. In the hypertext Borges manages to construct, time and space become unbreakable, as in the modern (and postmodern) theoretical framework. The labyrinth is the space and the time one employs to walk through it. This is also at the core of time-based technologies and multimedia art. A careful combination of time and space generates coordinated movement, which is the premise of animation. The exploration of all the chances animated images involve and allow is the premise of independent animation.