On to zero motion, or a hold. We learn that pausing in animation is as important as a rest in music, or a zero in mathematics. McLaren and Munro show us a double frame technique (where you repeat a frame without moving the object in the second one). We learn that when you double frame and double the tempo, persistence of vision is activated.
Why couldn’t I have become a scientist?
Finally, irregular motion. Syncopation, for instance, or irrational movement: “erratic, capricious, nervous, or even frightened.” To conclude we have a summary of the ranges of motion, and of their five tempos. “By their skilful use, the animator gives life, meaning, character, and spirit to no matter what subject.” By the way he inverts those words, McLaren is suddenly a Celt again. Or, with what those words say, and mean, he’s St. Francis of Asissi.