  Quite what is involved, at the phenomenal level, in motion being ‘painted onto’ a motionless snapshot is explained only by way of an analogy: a drawing of a person in motion (running or ice skating, say) can suggest motion, even though it is entirely motion-free. In response, realists will point out that there is a sizeable difference, phenomenologically speaking, between even looking at a still image which merely depicts motion, no matter how suggestively, and actually seeing motion. By way of further support, Koch quotes Oliver Sacks, who reports in his (1970) an occurrence of ‘cinematographic vision’ during one of his own migraine attacks: