Everyone knows that you can read a galloping horse in a still image as galloping. This paper asks how it is that we perceive motion in pictures. It considers perception of real motion in point-light experiments and the perception of motion in stills via the work of various psychologists, in the course of which it raises theoretical questions about the nature of visual perception. It then offers a detailed examination of knowledge regarding neural substrates for both real and depicted motion perception. Finally, it combines psychological and neurophysiological perspectives with phenomenologically-oriented observation of pictures, discussing both frontoparallel motion and motion in depth (in particular the phenomenon of "looming") in terms of two kinds of depictions, the "narrative" and the "performative". Examples are drawn from all kinds of pictures, but focus is on world rock art, whose time depth is especially amenable to the universalist approach adopted by the paper.

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This article analyses the cultural state of mind characteristic of historical periods at some kind of endpoint: the end of a world or even of the world or, most hypothetically, of the universe. This is the idea of Last Days. In order to contextualize it, it is necessary to consider varying conceptions of temporality: a hunter-gatherer model, models of cyclical time and of linear time. At least in the West, this last may be understood as a product of Judaeo-Christian thinking, of which the article gives an account focussed on the motifs of eschatology, apocalypse and messianism. Finally the article proposes that the present moment in history, characterized as "Post-Modernity", may readily be read as a time of endings, perhaps even of a conclusive end.