letting ourselves be swayed by it; do we not have the clear perception
of a movement which is not attached to any mobility--of a change devoid
of anything which changes? The change is self-sufficient, it is the
thing itself. It avails nothing to say that it takes time, for it is
indivisible; if the melody were to stop sooner, it would not be any
longer the same volume of sound, but another, equally indivisible.
Doubtless we have a tendency to divide it and to represent it to
ourselves as a linking together of distinct notes instead of the
uninterrupted continuity of the melody. But why? Simply because our
auditive perception has assumed the habit of saturating itself with
visual images. We hear the melody across the vision which the conductor
of the orchestra can have of it in looking at his score. We represent to
ourselves notes linked on to notes on an imaginary sheet of paper. We
think of a keyboard on which one plays, of the bow of a violin which
comes and goes, of the musicians, each one of whom plays his part in
conjunction with the others. Let us abstract these spatial images; there
remains pure change, self-sufficing, in no way attached to a 'thing'
which changes."[Footnote: Translated from La Perception du Changement,
pp. 24-25.]

We must conceive reality as a continual flux, then immobility will seem
a superficial abstraction hypostatized into states, concepts, and
substances, and the old difficulties raised by the ancients, in regard
to the problem of Change, will vanish, along with the problems attached
to the notion of "substance" in modern thought, because there is nothing
substantial but Change. Apart from Change there is no reality. We shall
see that all is movement, that we ourselves are movement--part of an
elan, a poussee formidable, which carries with it all things and all
creatures, and that in this eternity--not of immutability but of life
and Change--"we live and move and have our being."[Footnote: La