This article considers both animation and human cognition in terms of process philosophy, and articulates some common ground between the processes of animation and the processes of human cognitive imagery. In doing so it suggests a new cognitive theory of animation – one that differs dramatically from the bulk of the literature surrounding cognitive film theories, which tend to focus only on the viewer’s cognitive response to the completed film. Instead this theory will address a number of process philosophy-based ideas that, together with a discussion of the use of cognitive imagery, can position animation quite apart from other mediums. Firstly, the author suggests that movement and image should be considered as distinct entities both in the animated form and in human cognition. Next, he suggests that animation and cognitive imagery are often made up of numerous layers signaling a unique set of processes and facilitating greater creative and epistemic potential. And finally the article considers the influence of sound as well as the comparative uses of metamorphosis.

Animation has often involved some degree of drawing, but 'boiling' and animated sketching are two unique forms of drawn animation that overtly foreground the process of drawing. In this article, the author looks at these two specific approaches to drawn animation, paying special attention to the history, process, and evolutionary qualities of animated sketching; he focuses on the processes and material essence of the 'boiling' image. Both of these approaches produce forms that are at once immobile and mobile and, within this dichotomy of movement, the process of drawing is further accentuated. These will be discussed in light of broader discussions of the theory and process of animation and drawing. Additionally, these discussions will be set against a (somewhat informal) backdrop of process philosophy in an effort to further underscore the importance of the drawing process in the production and presentation of these two methods of animation.Historically, drawing has constituted the process and material basis for the bulk of the world's animation. The most widespread approach has involved the creation of multiple completed drawings that were then sequentially replaced, one at a time, in order to create the illusion of a unique and persistent form that moved. For example, 10,000 individual drawings of Mickey Mouse and friends (each slightly different in pose) might be necessary to produce a seven-minute animated film of the characters running about. This form of replacement animation has a very long history, emerging well before the advent of cinema; but instead of using film and projectors, the multiple finished drawings were presented within such devices as the zoetrope, the phenakistoscope or the flipbook. 1 However, there are at least two other slightly different approaches to the creation of

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