Capture the movement remains a challenge because by definition still photography. It must then live with other devices than the shutter speed. The milliseconds do not matter, at most they give the illusion of movement in a move that will replace what the eye perceives.
First: Juxtaposition of two topics set chronologically: 19 narrative, movement at dusk, 1. The dog, even at twilight, when day becomes night, or vice versa, but this intermediate state, evasive, visible to the naked eye. Fix the movement, keep track ephemeral the furrow left in the water by the animal. A "trademark," said Denis Roche still photography. The men at the lake in the Titica story 89 movement at dusk 2. To see these two stories, one after the other, you realize that it is a movement back and forth (left to right for the dog, from right to left and from left to right for men). The movement is fixed and recreated (I think back to Bartlebooth Perec!) As a cinematograph primitive than me, spectator, I welcome.
Then: the juxtaposition, like a chiaroscuro, from static and fixed.
In story 38 Murga (or "Carnival"), the frog is not at the party. A quasi-anatomical, a cutaway, a lung (the) tion of death that took away the jitter (frog, dancers as well). It is mostly what I see. The motion is put to the question.
The story 19 makes us the dog who never bathe twice in the same river ... we have only the trace of a nostalgic way.
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