I love this image from the cover of The Glitch Mob’s We Can Make the World Stop:
People occasionally describe winding canyons as if they were snakes, and this image makes that language explicit by showing a snake winding through the canyon. We know that canyons do not wind (at least, not in the sense that the language implies), usually it is the river that created the canyon that did the winding as it formed the canyon over time. But, when this information gets applied to the canyon we can say that this is fictive motion, the canyon is fictively moving, fictively winding.
When The Glitch Mob translate this idea into the clear visual imagery of this cover art, it forces the obvious in a way that makes it compelling to look at. I think this is because it is a conceptual blend in which there is an input space of CANYON and another input space of SNAKE. The blended space is the scene of the snake body in the canyon. Usually in a conceptual blend some of the structure from the input spaces gets left out through the process of compression, but in this case, it appears that there is no compression, but rather a full specification of the input spaces in the blended space. I think this is a bypassing of compression, and I think that it makes the SNAKE represent the trajector of the motion, so by eliminating compression, what is normally construed as fictive motion has to be thought of as veridical motion; the SNAKE is moving, not the vacuous space of the canyon.
Does the movement of the snake imply causality? In other words, is the snake causing the winding of the canyon?
Does the movement of the snake imply opportunistic movement? In other words, is the snake moving in the canyon because the canyon is a CONDUIT in the conceptual metaphor sense?
Like I said in the first paragraph, except for cases where people are discussing rivers, people normally ascribe the motion to the canyon. Canyon is thus conceived of as the substance moving through the CONDUIT. However, in this case, the snake is the substance moving through the conduit, and the snake is factively in motion. This stagnates the fictive motion reading of this imagery, and replaces it with a blend that exploits a conceptual metaphor. Amazing.
(image courtesy of The Glitch Mob press kit)