Freeze Frame Quotes

If our mind remains freeze-framed by inhibiting and hampering habits, in an ever-changing world, we won’t be able to get rid of that weird feeling of not belonging anywhere and not taking part in authentic life challenges. ("Not on the shortlist")

By freeze-framing the image of our lifestyle, by stopping our mental clock at times and letting time flow, 'psychological' time can replace 'chronological' time and our human condition can be called into question. This opens the door to a new challenge and a new future. ( "Svp "Arrêt sur image" )

From daydreams on the road there was no waking. He plodded on. He could remember everything of her save her scent. Seated in a theatre with her beside him leaning forward listening to the music. Gold scrollwork and sconces and the tall columnar folds of the drapes at either side of the stage. She held his hand in her lap and he could feel the tops of her stockings through the thin stuff of her summer dress. Freeze this frame. Now call down your dark and your cold and be damned.

Images flicker, each one bringing its own sorrow or its own smile. Sometimes both. At the very worst, an impenetrable and sightless black and at best, a happiness so bright that it hurts the eyes to see, coming and going on some unseen projector perpetually turned by an invisible hand. One, then another. The hollow click of the shutter. Now stop. Freeze this frame. Pluck it down and hold it close and be damned by what you see. Henri always said: the price of a memory is the memory if the sorrow it brings.

Sometimes moments in life are so perfect you want to freeze frame them; capture them within your soul forever so they never fade away—they burn themselves into your being until they’re a part of who you are.

Freeze this frame. Now call down your dark and your cold and be damned.

Every action has a reaction,everything we do or say has an effect.

Because that’s the thing about the exact moment when you get somewhere that has required effort: There’s a freeze-frame instant of total fulfillment, when every expectation has been met and the world is perfect.

I know I can't make time slow down, can't hold our life as it is in a freeze frame or slow my children's inexorable journeys into adulthood and lives of their own. But I can celebrate those journeys by bearing witness to them, by paying attention, and, perhaps most of all, by carrying on with my own growth and becoming. Now it dawns on me that the only way I can figure out what I'm meant to be doing is to try to understand who I'm meant to be...I will not waste this life, not one hour, not one minute. I will not take for granted the blessing of our being here...I will give thanks...

Time if the inner form of animal sense that animates events-the still frames-of the spatial world. The mind animates the world like the motor and gears of a projector. Each weaves a series of still pictures-a series of spatial states-into an order, into the 'current' of life. Motion is created in our minds by running "film cells" together. Remember that everything you perceive-even this page-is actively, repeatedly, being constructed inside your head. It's happening to you right now. Your eyes cannot see through the wall of the cranium; all experience including visual experience is an organized whirl of information in your brain. If your mind could stop its "motor" for a moment, you'd get a freeze frame, just as the movie projector isolated the arrow in one position with no momentum. In fact, time can be defined as the inner summation of spatial states.

So: if you buy the notion that reality consists of the things in your freeze-frame mental image right now, and if you agree that your now is no more valid than the now of someone located far away in space who can move freely, then reality encompasses all of the events in spacetime.

In this world, there is no true freeze frame. Pictures do not escape time. But they do sit in it. Pictures are men grabbing at wind to make themselves feel less beaten by the driving current of this river. We pinch brushes to pinch moments, feelings, and ... that thing that was just now but now it's gone. Did you catch that? We push buttons and point electric boxes. Did you get that? And most of the time we never go back to look. I got it (I think). But we feel better, like fishermen hooking everything but reeling rarely.

You might just decide that one life lived on your own recognizance is better than a million unremembered births.

The camera is a remarkable thing, you think, with its ability to transform the mundane into an immortal moment able to travel through time, reappear days or months or years after its actually occurrence. Every second of our existence is alive with possibility, but we don’t see it until we hit rewind, until we freeze the frame. It is sad that so many things, all suffused with meaning, escape the unaided eye.

We spend our lives trying to discern where we end and the rest of the world begins. We snatch our freeze-frame of life from the simultaneity of existence holding on to the illusions of permanence, congruence, and linearity; of static selves and lives that unfold in sensical narratives. All the while, we mistake chance for choice, our labels and models of things for the things themselves, our records for history. History is not what happened, but what survives the shipwrecks of judgment and chance.

Cinema is a mixed form. L'Avventura has characters, it has social context, and these things are not trivial. Its plot is the disappearance of a disappearance. Possibly the most frightening plot imaginable. Forgetting the dead, whom all of history tells us we must remember. But what makes movies themselves, rather than novels or plays, is something else. What is it if not the film medium itself? The purity of the visual, which lies in the silence of the stilled image. The freeze frame. The deeply, deeply silent image. Like death. The image in itself in its silent purity reaches--it reaches!--for the purity of death.

Vision’s mostly a lie anyway,” he continued. “We don’t really see anything except a few hi-res degrees where the eye focuses. Everything else is just peripheral blur, just … light and motion. Motion draws the focus. And your eyes jiggle all the time, did you know that, Keeton? Saccades, they’re called. Blurs the image, the movement’s way too fast for the brain to integrate so your eye just … shuts down between pauses. It only grabs these isolated freeze-frames, but your brain edits out the blanks and stitches an … an illusion of continuity into your head.

The best part of photography is capturing a moment of humanity and freezing it forever.

Black holes are the ultimate garbage can.

She was the quintessential twenty-first-century woman: She could build a high-rise in a Chanel suit and Jimmy Choos, give lessons in multitasking, and freeze the heart of the coldest competitor with a single unblinking gaze over the rim of her ebony-framed reading glasses. But that persona was like a bodysuit that she pulled on at eight in the morning and peeled out of at five in the afternoon.

if you’re smart enough to do the job, you’re too smart to trust with the controls.

I'll kill you if I can." "I'll save you," it said. "If you let me.

We're dead anyway, all we get to choose is the exit strategy.

My memory has preserved what happened next as a series of snapshots, like freeze-frame stills from an art house movie, with those jerky, handheld camera angles.

FREEZE-FRAME also creates a mood shift to harmonious feeling states such as care and appreciation, which helps to create and sustain entrainment between heart and brain.

Every social interaction is a collision of frames, and the stronger frame always wins. Frame collisions are primal. They freeze out the neocortex and bring the crocodile brain in to make decisions and determine actions.

So in addition to the Big Freeze and Big Crunch, a third alternative began to emerge from the data, the Big Rip, which is like the Big Freeze on steroids. It is a vastly accelerated time frame for the life cycle of the universe.

Brutality is boring. Over and over, hell night after hell night, the same old dumb, tedious, bestial routine: making men crawl; making men groan, hanging men from the bars; shoving men; slapping men; freezing men in the showers; running men into walls; displaying shackled fathers to their sons and sons to their fathers. And if it turned out that you'd been given the wrong man, when you were done making his life unforgettably small and nasty, you allowed him to be your janitor and pick up the other prisoners' trash. There was always another prisoner, and another. Faceless men under hoods: you stripped them of their clothes, you stripped them of their pride. There wasn't much more you could take away from them, but people are inventive: one night some soldiers took a razor to one of Saddam's former general in Tier 1A and shaved off his eyebrows. He was an old man. "He looked like a grandfather and seemed like a nice guy," Sabrina Harman said, and she had tried to console him, telling him he looked younger and slipping him a few cigarettes. Then she had to make him stand at attention facing a boom box blasting the rapper Eminem, singing about raping his mother, or committing arson, or sneering at suicides, something like that⁠—these were some of the best-selling songs in American history. "Eminem is pretty much torture all in himself, and if one person's getting tortured, everybody is, because that music's horrible," Harman said. The general maintained his bearing against the onslaught of noise. "He looked so sad," Harman said. "I felt so bad for the guy." In fact, she said, "Out of everything I saw, that's the worst." This seems implausible, or at least illogical, until you think about it. The MI block was a place where a dead guy was just a dead guy. And a guy hanging from a window frame or a guy forced to drag his nakedness over a wet concrete floor⁠—well, how could you relate to that, except maybe to take a picture? But a man who kept his chin up while you blasted him with rape anthems, and old man shorn of his eyebrows whose very presence made you think of his grandkids--you could let that get to you, especially if you had to share in his punishment: "Slut, you think I won't choke no whore / til the vocal cords don't work in her throat no more!..." or whatever the song was.

You achieve the best results from FREEZE-FRAME when you focus in the area of the heart; take a few slow, full breaths; sincerely feel emotions such as love, care, or appreciation; and then forget about breathing while maintaining that feeling state.

Don't feel too bad. Everyone's in chains here. Eriophora's a slave ship. We cavemen are shackled by our need for air and food and water, by the disorienting discontinuity of lives cut into slices spread centuries apart. The Chimp is shackled by its own stupidity, And you, well...

When you are facing the possibility of imminent death, people treat you differently: Their gaze lingers, recording each mole, tracing the shape of your lips, noting the exact shade of your eyes, as if they are painting a portrait of you to hang in memory's gallery. They take dozens of pictures and videos of you on their phones, trying to freeze-frame time, to bottle the sound of your laugh, to immortalize meaningful moments that can later be revisited in a memory cloud. All of this attention can feel like you are being memorialized while you are still alive.

Nothing's immortal on a road trip of a billion years. The universe runs down in stop-motion around you, your backups' backups' backups need backups. Not even the error-correcting replication strategies cadged from biology can keep the mutations at bay forever. It was true for us meatsicles cycling through mayfly moments every thousand years; it was just as true for the hardware.

It soon becomes clear that everybody's pretending for tonight that they're still in the pre-crash fantasy years, dancing in the shadow of last year's dreaded Y2K, no safely history, but according to this consensual delusion not quite upon them yet, with all here remaining freeze-framed back at the Cinderella moment of midnight of the millennium when in the next nanosecond the world's computers will fail to increment the year correctly and bring down the Apocalypse. What passes for nostalgia in a time of widespread Attention Deficit Disorder.

Losing someone you love tunes you in to the fragility of life—of moments and memories and music. It makes you want to embrace all the foolish, inarticulate longings that pull at your heart. It makes you want to grasp un-played notes of un-played symphonies. Perhaps that was why Jack and I clung to that moment, eyes locked, breaths stilled, listening to something that only we could hear, something that lived in the fleeting space between hello and goodbye. It made me want to freeze-frame the rippling grasslands below us, and the play of light across Jack’s face.

Keeping the police videos from the public and the press - along with Judge Cahill’s gag order, and his decisions and instructions about the body cam videos - allowed [Attorney General] Ellison and the prosecution to maintain control of the narrative. It might seem obvious now: without the police videos, there was nothing to compare to the viral Facebook video. Since there was no basis for comparison, the viral Facebook video - and freeze-frame screenshots that were used extensively by the media and the Left - were etched into the collective memory of just about everyone in America.

Other people used photographs as a way to keep close to the events of their lives; she had used them as a way to stand apart. She had never looked at the Kitchen Counter series and remembered the days before and after, the grocery shopping or the leftovers in the refrigerator, didn't look at the photographs of Ben's action figures or even the plateau of his baby back and think of which toys he'd preferred or when those faint dimples at the base of his spine had given way to the firmer flesh of childhood. She'd denatured parts of her own existence by printing and framing and freezing them.

When Lauren returned from lunch there were two dozen breathtakingly gorgeous red roses in a vase on her desk. She removed the card from its envelope and stared at it in blank amazement. On it was written "Thank you, sweetheart," followed by the initial J. When Lauren looked up,Nick was standing in the doorway,his shoulder casually propped against the frame. But there was nothing casual about the rigid set of his jaw or the freezing look in his gray eyes. "From a secret admirer?" he asked sarcastically. It was the first personal comment he had addressed to her in four days. "Not a secret admirer exactly," she hedged. "Who is he?" Lauren tensed. He seemed so angry she didn't think it would be wise to mention Jim's name. "I'm not absolutely certain." "You aren't absolutely certain?" he bit out. "How many men with the inital J are you seeing? How many of them think you're worth more than a hundred dollars in roses as a way of saying thank you?" "A hundred dollars?" Lauren repeated, so appalled at the expense that she completely overlooked the fact that Nick had obviously opened the envelope and read the card. "You must be getting better at it," he mocked crudely. Inwardly Lauren flinched, but she lifted her chin. "I have much better teachers now!" With an icy glance that raked her from head to toe,Nick turned on his heel and strode back into his office. For the rest of the day he left her completely alone.

There was another inspiring moment: a rough, choppy, moonlit night on the water, and the Dreadnaught's manager looked out the window suddenly to spy thousands of tiny baitfish breaking the surface, rushing frantically toward shore. He knew what that meant, as did everyone else in town with a boat, a gaff and a loaf of Wonder bread to use as bait: the stripers were running! Thousands of the highly prized, relatively expensive striped bass were, in a rare feeding frenzy, suddenly there for the taking. You had literally only to throw bread on the water, bash the tasty fish on the head with a gaff and then haul them in. They were taking them by the hundreds of pounds. Every restaurant in town was loading up on them, their parking lots, like ours, suddenly a Coleman-lit staging area for scaling, gutting and wrapping operations. The Dreadnaught lot, like every other lot in town, was suddenly filled with gore-covered cooks and dishwashers, laboring under flickering gaslamps and naked bulbs to clean, wrap and freeze the valuable white meat. We worked for hours with our knives, our hair sparkling with snowflake-like fish scales, scraping, tearing, filleting. At the end of the night's work, I took home a 35-pound monster, still twisted with rigor. My room-mates were smoking weed when I got back to our little place on the beach and, as often happens on such occasions, were hungry. We had only the bass, some butter and a lemon to work with, but we cooked that sucker up under the tiny home broiler and served it on aluminum foil, tearing at it with our fingers. It was a bright, moonlit sky now, a mean high tide was lapping at the edges of our house, and as the windows began to shake in their frames, a smell of white spindrift and salt saturated the air as we ate. It was the freshest piece of fish I'd ever eaten, and I don't know if it was due to the dramatic quality the weather was beginning to take on, but it hit me right in the brainpan, a meal that made me feel better about things, made me better for eating it, somehow even smarter, somehow . . . It was a protein rush to the cortex, a clean, three-ingredient ingredient high, eaten with the hands. Could anything be better than that?

When it comes to people we admire, it is in our nature to be selective with information, to load with personal associations, to elevate and make heroic. That is especially true after their deaths, especially if those deaths have been in any way untimely and/or shocking. It is hard to hold onto the real people, the true story. When we think of the Clash, we tend to forget or overlook the embarrassing moments, the mistakes, the musical filler, the petty squabbles, the squalid escapades, the unfulfilled promises. Instead, we take only selected highlights from the archive-the best songs, the most flatteringly-posed photographs, the most passionate live footage, the most stirring video clips, the sexiest slogans, the snappiest soundbites, the warmest personal memories-and from them we construct a near-perfect rock 'n' roll band, a Hollywood version of the real thing. The Clash have provided us with not just a soundtrack, but also a stock of images from which to create a movie we can run in our own heads. The exact content of the movie might differ from person to person and country to country, but certain key elements will remain much the same; and it is those elements that will make up the Essential Clash of folk memory. This book might have set out to take the movie apart scene by scene to analyse how it was put together; but this book also believes the movie is a masterpiece, and has no intention of spoiling the ending. It's time to freeze the frame. At the very moment they step out of history and into legend: the Last Gang In Town.

He was almost at his door when Vik’s earsplitting shriek resounded down the corridor. Tom was glad for the excuse to sprint back toward him. “Vik?” He reached Vik’s doorway as Vik was backing out of it. “Tom,” he breathed, “it’s an abomination.” Confused, Tom stepped past him into the bunk. Then he gawked, too. Instead of a standard trainee bunk of two small beds with drawers underneath them and totally bare walls, Vik’s bunk was virtually covered with images of their friend Wyatt Enslow. There were posters all over the wall with Wyatt’s solemn, oval face on them. She wore her customary scowl, her dark eyes tracking their every move through the bunk. There was a giant marble statue of a sad-looking Vik with a boot on top of its head. The Vik statue clutched two very, very tiny hands together in a gesture of supplication, its eyes trained upward on the unseen stomper, an inscription at its base, WHY, OH WHY, DID I CROSS WYATT ENSLOW? Tom began to laugh. “She didn’t do it to the bunk,” Vik insisted. “She must’ve done something to our processors.” That much was obvious. If Wyatt was good at anything, it was pulling off tricks with the neural processors, which could pretty much be manipulated to show them anything. This was some sort of illusion she was making them see, and Tom heartily approved. He stepped closer to the walls to admire some of the photos pinned there, freeze-frames of some of Vik’s more embarrassing moments at the Spire: that time Vik got a computer virus that convinced him he was a sheep, and he’d crawled around on his hands and knees chewing on plants in the arboretum. Another was Vik gaping in dismay as Wyatt won the war games. “My hands do not look like that.” Vik jabbed a finger at the statue and its abnormally tiny hands. Wyatt had relentlessly mocked Vik for having small, delicate hands ever since Tom had informed her it was the proper way to counter one of Vik’s nicknames for her, “Man Hands.” Vik had mostly abandoned that nickname for “Evil Wench,” and Tom suspected it was due to the delicate-hands gibe. Just then, Vik’s new roommate bustled into the bunk. He was a tall, slim guy with curly black hair and a pointy look to his face. Tom had seen him around, and he called up his profile from memory: NAME: Giuseppe Nichols RANK: USIF, Grade IV Middle, Alexander Division ORIGIN: New York, NY ACHIEVEMENTS: Runner-up, Van Cliburn International Piano Competition IP: 2053:db7:lj71::291:ll3:6e8 SECURITY STATUS: Top Secret LANDLOCK-4 Giuseppe must’ve been able to see the bunk template, too, because he stuttered to a stop, staring up at the statue. “Did you really program a giant statue of yourself into your bunk template? That’s so narcissistic.” Tom smothered his laughter. “Wow. He already has your number, man.” Vik shot him a look of death as Tom backed out of the bunk.

freeze, so she opted for pants with a thick, nubbly sweater that added substance to her frame. As always, her necklace was in place, and she donned a lovely bright cashmere scarf to keep her neck warm. When she stepped back to appraise herself in the mirror, she felt she looked almost as good as she had before chemotherapy started. Collecting her purse, she took a couple more pills—the pain wasn’t as bad as yesterday, but no reason to risk it—and called an Uber. Pulling up to the gallery a few minutes after closing time, she saw Mark through the window, discussing one of her photographs with a couple in their fifties. Mark offered the slightest of waves when Maggie stepped inside and hurried to her office. On her desk was a small stack of mail; she was quickly sorting through it when Mark suddenly tapped on her open door. “Hey, sorry. I thought they’d make a decision before you arrived, but they had a lot of questions.” “And?” “They bought two of your prints.” Amazing, she thought. Early in the life of the gallery, weeks could go by without the sale of even a single print of hers. And while the sales did increase with the growth of her career, the real renown came with her Cancer Videos. Fame did indeed change everything, even if the fame was for a reason she wouldn’t wish upon anyone. Mark walked into the office before suddenly pulling up short. “Wow,” he said. “You look fantastic.” “I’m trying.” “How do you feel?” “I’ve been more tired than usual, so I’ve been sleeping a lot.” “Are you sure you’re still up for this?” She could see the worry in his expression. “It’s Luanne’s gift, so I have to go. And besides, it’ll help me get into the Christmas spirit.

THE IRIS OF THE EYE WAS TOO BIG TO HAVE BEEN FABRICATED AS A single rigid object. It had been built, beginning about nine hundred years ago, out of links that had been joined together into a chain; the two ends of the chain then connected to form a loop. The method would have seemed familiar to Rhys Aitken, who had used something like it to construct Izzy’s T3 torus. For him, or anyone else versed in the technological history of Old Earth, an equally useful metaphor would have been that it was a train, 157 kilometers long, made of 720 giant cars, with the nose of the locomotive joined to the tail of the caboose so that it formed a circular construct 50 kilometers in diameter. An even better analogy would have been to a roller coaster, since its purpose was to run loop-the-loops forever. The “track” on which the “train” ran was a circular groove in the iron frame of the Eye, lined with the sensors and magnets needed to supply electrodynamic suspension, so that the whole thing could spin without actually touching the Eye’s stationary frame. This was an essential design requirement given that the Great Chain had to move with a velocity of about five hundred meters per second in order to supply Earth-normal gravity to its inhabitants. Each of the links had approximately the footprint of a Manhattan city block on Old Earth. And their total number of 720 was loosely comparable to the number of such blocks that had once existed in the gridded part of Manhattan, depending on where you drew the boundaries—it was bigger than Midtown but smaller than Manhattan as a whole. Residents of the Great Chain were acutely aware of the comparison, to the point where they were mocked for having a “Manhattan complex” by residents of other habitats. They were forever freeze-framing Old Earth movies or zooming around in virtual-reality simulations of pre-Zero New York for clues as to how street and apartment living had worked in those days. They had taken as their patron saint Luisa, the eighth survivor on Cleft, a Manhattanite who had been too old to found her own race. Implicit in that was that the Great Chain—the GC, Chaintown, Chainhattan—was a place that people might move to when they wanted to separate themselves from the social environments of their home habitats, or indeed of their own races. Mixed-race people were more common there than anywhere else.

when a lemur makes a human, it doesn’t matter how many lemur chains and lemur rules and lemur constraints she imposes. She’s simply, computationally incapable of seeing all the angles that her smarter creation can take in at a glance.

Then Willow musters up the courage to invite Oz to Buffy’s surprise birthday party in “Surprise”—and he is immediately initiated into the Scooby Gang when he sees a vampire explode into dust. He joins in the heist of the rocket launcher without so much as batting an eye: “So, do you guys steal weapons from the army a lot?” he asks. And he makes it very clear where he stands: Oz: “Sometimes when I’m sitting in class, I’m not thinking about class, ’cause you know that could never happen, I think about kissing you and then it’s like everything stops. It’s like freeze frame. Willow kissage…but I’m not gonna kiss you.” Willow: “What? But…freeze frame…” Oz: “Well, to the casual observer, it would appear like you want to make your friend Xander jealous. Or even the score or something. That’s on the empty side. See, in my fantasy, when I’m kissing you…you’re kissing me. It’s okay, I can wait.” —“INNOCENCE”

I do cry now and then, in case you're wondering. I even cried for Chimp once. I was there for his birth, years before we ever shipped out. I saw the lights come on, listened as he found his voice, watched him learn to tell Sunday from Kai from Ishmael. He was such a fast learner, such an eager one; back then, barely out of my own accelerated adolescence and not yet bound for the stars, I felt sure he'd streak straight into godhood while we stood mired in flesh and blood. He seemed so happy, devoured every benchmark, met every challenge, anticipated each new one with a kind of hardwired enthusiasm I could only describe as voracious.

For centuries, artists had tried to recreate the world as precisely as thier skill allowed; now the camera would capture the world , freeze-frame it and make copying an almost unskilled activity.

This was the kind of romantic moment any man, dead or alive, would remember forever. A thread of magic that would become stitched inside of a freeze frame of memory.

Prologue               It started with rain. A torrential downpour that began around midnight and waged throughout the next day. Occasionally it would ease off for a few minutes, only to come back even stronger.               Step two was the temperature drop. Rapid and even, it took only a matter of hours for the mercury to dip below freezing. Once it did, the rain gave way to heavy, wet snowflakes.               Dr. Hardy Nicks stood just outside the front door of the Vanderbilt Medical Center. He checked his watch repeatedly while hopping up and down on the balls of his feet, hoping to stay warm. A plume of vapor extended from of his mouth, each breath hanging like a cloud in front of him.               As an attending surgeon at the center, Hardy had been on the floor for twenty hours straight. Enormous bags hung beneath each eye and his thinning hair was plastered to his head from being smashed beneath a surgical cap. He hadn't bothered to change out of the light blue scrubs he'd been wearing all day, the shapeless togs doing little to hide his slight frame.               An airlock released behind him.

The sky is grey, with a thin TV-static drizzle that hangs in the air like it's been freeze-framed.

Another thing to do is to freeze frame the memory. I know that sounds crazy at first, but the best thing to do then is to jump to the end, freeze-frame it and literally grab a whiteness knob in your mind and turn it very quickly so that it goes blank-out white, phhhhhp. Very quickly, so the whiteness literally replaces the memory so you can’t see it.

Time does not stop or slow down when you are in danger. Everything happens as fast. It is just that - providing we survive them - we subject these periods of time to such intense retrospective scrutiny that we come to know them more fully, more exactly. We see them in freeze-frame.

i might go see London After Midnight at Coven 13 tonight i might sit at home and write lousy poems i might play with my cat and then go trick people to death it’s a freeze frame happenstance reality of sickness

Automatically, as it had begun to do in these situations, her brain separated itself, like taking a box out of a box, leaving the original in its place and moving the latter over parallel to the original, though slightly askew. Photographer versus wife, picture taker versus the woman who wanted to scream in the street, who wanted to take the rifles these olive boys wore slung so casually over shoulders and narrow hips and turn them on their owners. And so the entire scene, (five minutes in real time, eternity on celluloid) laid itself out for her in freeze frame. Click, Casey cuffed now to the side of the lorry, morning light washing him over rose and silver and gold, half-naked and barefoot in the street; an Irish man in an Irish street in the twentieth century, hard to countenance and yet there for the clicking, there for the taking. Take the shot, take the picture, leave the pain, it interferes with the work, work now, bleed on the weekends, in the nights, in the quiet, that’s what Lucas had taught her.

I know I can’t make time slow down, can’t hold our life as it is in a freeze frame or slow my children’s inexorable journeys into adulthood and lives of their own. But I can celebrate those journeys by bearing witness to them, by paying attention, and, perhaps most of all, by carrying on with my own growth and becoming.

a woman’s prerogative to prevaricate in the beginning and decide for herself in

Freeze frame. Church folks dressed in white, standin’ waist-deep in the water. They all put their hands in the air and they’re singin’ and swayin’ like trees. At their fingertips, cotton-ball clouds are polishin’ the sky crystal-blue. As

It was one of those weird moments when you want the world to freeze-frame so you can savour it; knowing with certainty that something special, significant, sensational is taking place.

He was waiting in the reception hall, a lone figure lost in the vast, vaulted chamber. The Herrani representative was an elderly man whose thin frame leaned heavily on his walking stick. Kestrel faltered. She approached more slowly. She couldn’t help looking over his shoulder for Arin. He wasn’t there. “I thought the barbarian days of the Valorian empire were over,” the man said dryly. “What?” said Kestrel. “You’re barefoot.” She glanced down, and only then realized that her feet were freezing, that she’d forgotten even the existence of shoes when she’d left her dressing chamber and hurtled through the palace for all to see, for the Valorian guards flanking the reception hall to see right now. “Who are you?” Kestrel demanded. “Tensen, the Herrani minister of agriculture.” “And the governor? Where is he?” “Not coming.” “Not…” Kestrel pressed a palm to her forehead. “The emperor issued a summons. To a state function. And Arin declines?” Her anger was folding onto itself in as many layers as her ball gown--anger at Arin, at the way he was committing political suicide. Anger at herself. At her own bare feet and how they were proof--pure, naked, cold proof--of her hope, her very need to see someone that she was supposed to forget. Arin had not come. “I get that disappointed look all the time,” Tensen said in a cheerful tone. “No one is ever excited to meet the minister of agriculture.

Nero is proof of the perversity of the universe. Never has such a dangerous object been disguised in such an appealing wrapper. He’s like a berry so vivid and juicy that it makes your mouth water just looking at it. But one taste will poison you. He’s liquid sex in a James Dean frame. Everything about him, from his fog-gray eyes to his pouty lips to his arrogant swagger is calculated to make your heart freeze up in your chest, and then jolt back to life if he so much as glances at you.

Freeze this frame. Now call down your dark and your cold and be damned.

The muscles of his jaw jumped even more until he looked down at her. Then everything in him seemed to freeze. Pausing as his eyes danced over her features. “If we do not see each other again, my kalon, I wish for you to know that I have never been more honored than to have a woman like you at my side.” He swallowed hard again, his eyes still flicking over hers. “I do not know how your people say this.” Oh, this sweet, wonderful man who had no idea how much he had wriggled his way into her heart. She reached up and framed his face with both of her hands, staring into those black eyes that showed so much more than he knew how to say. “We say I love you.” “I have heard this from Mira before.” “From Mira?” she repeated with a laugh. He shook his head. “She has said it to Arges. Tell me what this word means.” “It’s not about the word itself. It’s about the feeling in here.” She moved one of her hands to his chest. “It means that living without you feels wrong. That to be parted from your side makes me miss you more than I miss breathing fresh air. And that I will always think of you, no matter how far I am from you.

Vision’s mostly a lie anyway,” he continued. “We don’t really see anything except a few hi-res degrees where the eye focuses. Everything else is just peripheral blur, just … light and motion. Motion draws the focus. And your eyes jiggle all the time, did you know that, Keeton? Saccades, they’re called. Blurs the image, the movement’s way too fast for the brain to integrate so your eye just … shuts down between pauses. It only grabs these isolated freeze-frames, but your brain edits out the blanks and stitches an … an illusion of continuity into your head.

Each night my father counts backward from 100 like a shepherd climbing down meadow by meadow the Alps. Since his stroke he does this, he says, so his mind holds still, so it freezes, a suspect, hands on the wallpaper. That way it is there with his cane the next morning. When your mind runs away, well, it stashes parts of your real life forever, the names of lakes, the pretty faces of girls. When that happens, you count on nothing, a patch of sun on a green carpet, new snow on a roof framed by curtains. You call the woman “Nurse” and wonder why she cries. It is still a life, that chair between the cashews and windows. Then one day Bang! Doesn’t your mind come waltzing home, made up clown-style, sloshing memories like confetti in a pail? And don’t you take your life in your hands, counting out good times, counting out bad, marking time backward so it’s understood? Whatever you’re missing, he says, it’s what you don’t miss. Listen, he says, that sound in the old high ceilings of the house, not ice in the eaves, no man’s voice, no echo either... Only the wind, counting toward zero.

[Rape is framed] as something that a potential victim can prevent if they learn the steps of this peculiar dance that is trying to avoid being possibly assaulted, the immediate response is often one of several questions ranging from “What were you wearing?” to “Why were you there?” to “Had you been drinking?” The answers to those questions can never be relevant — ultimately victims are assaulted because someone chose to attack them. Instead of tips on how not to be a rapist, how to teach people not to rape, or even on creating therapeutic outlets for potential rapists, we find a half dozen tips on preventing a mythical stranger from raping an able-bodied, alert, physically fit person with excellent reflexes and an exceptional amount of luck. These tips never address disability, differences in flight-or-flight (or freeze) adrenaline responses, or even the reality that most assailants are known to their victims.

Challenger and Chernobyl: the only felicitous accidents, like a freeze-frame of the system. In the same way as a photo arrests movement and restores the unforgettable character that it had lost, the Challenger explosion has revived our imagination where space is concerned. The photos of Challenger were only so beautiful because they fixed in our minds the secret destination of the adventure of space travel, whereas its speed only gives us the apparent movement.

Proverbs, Ecclesiastes, and Job all agree: the Bible doesn’t capture a freeze-frame of God and bind him to it. If we get on board with this idea, some other things the Bible says about God will make more sense.

I need to get out of here. And then my eyes halt on the frame that’s casually hanging against a tree, and my limbs freeze. Because it’s him. The guy with platinum hair and an angelic smile.

It is objectively destructive to fetishize the past, to dismantle social safety nets, to deny the existence of structural inequalities and leave the most vulnerable to face impossible odds without succor. It is a fundamental betrayal of everything a society is for. There is no cool version of conservatism, no ethically responsible version, no rational version ready to reclaim the tiller after Trump leaves office. The word itself betrays an inherent violence: to conserve is to avoid change, to embrace stasis, to freeze frame the now because the now is treating certain people very, very well.

Theism and materialism, so indifferent when taken retrospectively, point, when we take them prospectively, to wholly different outlooks of experience. For, according to the theory of mechanical evolution, the laws of redistribution of matter and motion, tho they are certainly to thank for all the good hours which our organisms have ever yielded us and for all the ideals which our minds now frame, are yet fatally certain to undo their work again, and to redissolve everything that they have once evolved. You all know the picture of the last state of the universe which evolutionary science foresees. I cannot state it better than in Mr. Balfour's words: That is the sting of it, that in the vast driftings of the cosmic weather, tho many a jeweled shore appears, and many an enchanted cloud-bank floats away, long lingering ere it be dissolved—even as our world now lingers, for our joy-yet when these transient products are gone, nothing, absolutely NOTHING remains, of represent those particular qualities, those elements of preciousness which they may have enshrined. Dead and gone are they, gone utterly from the very sphere and room of being. Without an echo; without a memory; without an influence on aught that may come after, to make it care for similar ideals. This utter final wreck and tragedy is of the essence of scientific materialism as at present understood. The lower and not the higher forces are the eternal forces, or the last surviving forces within the only cycle of evolution which we can definitely see. Mr. Spencer believes this as much as anyone; so why should he argue with us as if we were making silly aesthetic objections to the 'grossness' of 'matter and motion,' the principles of his philosophy, when what really dismays us is the disconsolateness of its ulterior practical results? No the true objection to materialism is not positive but negative. It would be farcical at this day to make complaint of it for what it IS for 'grossness.' Grossness is what grossness DOES—we now know THAT. We make complaint of it, on the contrary, for what it is NOT—not a permanent warrant for our more ideal interests, not a fulfiller of our remotest hopes. The notion of God, on the other hand, however inferior it may be in clearness to those mathematical notions so current in mechanical philosophy, has at least this practical superiority over them, that it guarantees an ideal order that shall be permanently preserved. A world with a God in it to say the last word, may indeed burn up or freeze, but we then think of him as still mindful of the old ideals and sure to bring them elsewhere to fruition; so that, where he is, tragedy is only provisional and partial, and shipwreck and dissolution not the absolutely final things. This need of an eternal moral order is one of the deepest needs of our breast. And those poets, like Dante and Wordsworth, who live on the conviction of such an order, owe to that fact the extraordinary tonic and consoling power of their verse. Here then, in these different emotional and practical appeals, in these adjustments of our concrete attitudes of hope and expectation, and all the delicate consequences which their differences entail, lie the real meanings of materialism and spiritualism—not in hair-splitting abstractions about matter's inner essence, or about the metaphysical attributes of God. Materialism means simply the denial that the moral order is eternal, and the cutting off of ultimate hopes; spiritualism means the affirmation of an eternal moral order and the letting loose of hope. Surely here is an issue genuine enough, for anyone who feels it; and, as long as men are men, it will yield matter for a serious philosophic debate.

Gmorning... *TGIF-style theme song plays* THE MORNING TWEET IS ON YOUR PHONE YOU START YOUR DAY, YOU’RE NOT ALONE WHEN DREAMS ARE JUST AROUND THE BEND YOU RIIIIIISE *we see the skyline of your town* GMOOOOOORNING YOUUUUU *You turn to the camera mid-activity, smile* Gnight *credits roll* *freeze frames from your day roll past as a jazzy instrumental version of your theme music plays* STAY TUNED FOR PERFECT STRANGERS

With tinny drumbeats, the rain pounds the roof My teary eyes compete They can't keep up Breathe Let it go Breathe The vice on my chest tightens its razoring grip I gasp No relief If only tears could soothe the pain Then, I would look upon the tidal waves against these walls without fear Crush and roll me, I'd plead, Mold my body anew But with these tears come no healing, Just death, slow and determined This old girl, this old woman, this old soul lives here inside A tortoise outgrowing this hare's body This youthful skin encasing a crumbling frame I smooth the matted web of curls off my sweaty neck And roll my eyes at the clock How slowly the time squeaks by here in this room, In this comfortless bed I abandon the warmth from under my blanket tower and shiver The draft rattles my spine One by one, striking my vertebrae Like a spoon chiming empty wine glasses, Hitting the same fragile note till my neck shakes the chill away I swipe along the naked floor with a toe for the slippers beneath the bed Plush fabric caresses my feet Stand! Get up With both hands, Gravity jerks me back down Ugh! This cursed bed! No more, I want no more of it I try again My legs quiver in search of my former strength Come on, old girl, Come on, old woman, Come on, old soul, Don't quit now The floor shakes beneath me, Hoping I trip and fall To the living room window, I trudge My joints grind like gravel under tires More pain no amount of tears can soothe away Pinching the embroidered curtain between my knuckles, I find solace in the gloom The wind humming against the window, Makes the house creak and groan Years ago, the cold numbed my pain But can it numb me again, This wretched body and fractured soul? Outside I venture with chants fluttering my lips, Desperate solemn pleas For comfort, For mercy For ease, For health I open the plush throw spiraled around my shoulders And tiptoe around the porch's rain-soaked boards The chilly air moves through me like Death on a mission, My body, an empty gorge with no barriers to stop him, No flesh or bone My highest and lowest extremities grow numb But my feeble knees and crippling bones turn half-stone, half-bone Half-alive, half-dead No better, just worse The merciless wind freezes my tears My chin tumbles in despair I cover myself and sniffle Earth’s scent funnels up my nose: Decay with traces of life in its perfume The treetops and their slender branches sway, Defying the bitter gusts As I turn to seek shelter, the last browned leaf breaks away It drifts, it floats At the weary tree’s feet, it makes its bed alongside the others Like a pile of corpses, they lie Furled and crinkled with age No one mourns their death Or hurries to honor the fallen with thoughtful burials No rage-filled cries echo their protests at the paws trampling their fragile bodies, Or at the desecration by the animals seeking morning relief And new boundaries to mark Soon, the stark canopy stretching over the pitiful sight Will replace them with vibrant buds and leaves Until the wasting season again returns For now, more misery will barricade my bones as winter creeps in Unless Death meets me first to end it

You can use the Freeze Frame technique and worksheet to quickly move from recognizing a problem or stressful issue to finding a solution that can be put into action. You can also use the Freeze Frame technique for accessing creative ideas or intuitive insights on projects you are planning or engaged in. The more you increase your coherence baseline, the more access you will have to your creative capacities.

There's something in Coach's tone that freezes me in place before her sparsely decorated desk. Beside her laptop, she always keeps a current team picture and a framed, signed Julie Chu puck. And they aren't there now. In fact, the desk calendar has been torn off to a blank sheet and the whiteboard on the wall, usually crowded with lines and drills has been scrubbed clean.

So there they were, young and old and some in the middle, shadows and candlelight, freeze-framed, with glasses raised. To this moment, he said, looking at Evelyn. She smiled. To this moment, they all said.

Something that I consider ‘my invention’, since I haven’t seen it done anywhere before is ‘Super-speed photography’. Now normal high-speed photography involves either a very fast camera at a high frame rate or the act of ‘freezing’ the motion using flash, while the actual exposure is actually quite long. For much of my high-speed photography with flash I was using shutter speeds of two seconds to give me time to break or shoot whatever my subject was and trigger the flash with a sound activated device. But then I started playing with the idea of using the flash trigger of the camera to actually cause the event.

She daydreamed, walking head down on the dusty sidewalk of Ambelokipi toward her hotel, about escaping. How would she frame it, how would she tell Nate she wanted him to take her to America, right now, and put her in a house near a lake surrounded by pine trees, a house with a fireplace, and make slow love in the mornings? You’re a little genius, she thought. A real dreamer. Who are you kidding? This deep-freeze existence of hers would continue until she died, exposed by a traitor, or shot by a sniper, or butchered by a maniac assassin. Marta walked beside her, smoking and looking at the young men on the sidewalk. Clear your mind, she told her, concentrate, love your man, and don’t be afraid.

Freeze Frame, with Forsynthia You will bind me in my aquarelle, my skin blue as Canterbury bells. Call me mademoiselle before you execute, like the hand- tinted photo of the dancer, Margarete Gertrude Zelle, arms scissoring the air, fending bullets and flowers as she pirouettes. You will find me in the zero hour sipping a whiskey sour with a cherry, my hair yellow, not sallowed or frizzed like the Bishop's flower. In a bell-shaped dress trimmed in snow-white florets, I smell of fever, soil as I pose in the doorcase. You refer to me as daughter of gnawed bones I am property of _______. A profile in the slanted rain. I am versatile. You call me Lily of the Nile, fingering umbels as you scour the floor in search of my shadow. Hours sift and flow and form a canted frame where you lean one elbow statuesque as a window sash. You've captured me, you say, mid-bloom, in your eye frame, in the process of photograph and pose and polyphonic prose, the kitchen lit by my ante- bellum skirt, the yellow spikes of forsythia going up in flame. Simone Muench, Notebook. Knife. Mentholatum. (New Michigan Press 2003)

If there is a tear left, shed it for Jack Ruby. He didn’t make history; he only stepped in front of it. When he emerged from obscurity into that inextricable freeze-frame that joins all of our minds to Dallas, Jack Ruby, a bald-headed little man who wanted above all else to make it big, had his back to the camera. I can tell you about Jack Ruby, and about Dallas, and if necessary remind you that human life is sweetly fragile and the holy litany of ambition and success takes as many people to hell as it does to heaven. But someone else will have to tell you about Oswald, and what he was doing in Dallas that November, when Jack Ruby took the play away from Oswald, and from all of us.