Finally, he considered time itself to be the plastic vector of the survival and of metamorphosis of images.

Georges Didi-Huberman, The Surviving Image

The time of images is a series of coils and chasms. Aby Warburg would say that aesthetic forms speak in underground tongues that only in certain times can be heard.

Old images blown like pollen across the internet take root in the present, because perennial language finds its speakers again.

Images in our time taste wild and untethered, we eat them up without needing to know their time or place.

A plant is different.

Flowers, Michel Serres writes, “with their backs to space and looking at time, could say with Fontenelle that as far as any rose can remember, no gardener has ever been seen to die.”