Since the early days of humans, the ability to communicate solely through imagein sequence has resulted in stunning works of communication and narration. Be it paintedon a cave wall, spiraling up a stone column, unfurled in a hand scroll, or printed in amodern day comic book, the use of images in sequence to represent thought hasempowered humans to express themselves in ways that transcend the use of word. Thelanguage employed here is as inherent to the human experience as spoken word, thoughlexically far more universal. While most commonly found in narratives, though notexclusively, this method of communication is known as
. As a staticallyspatial medium, when reflecting the goings on of the physical world, one of the mostintriguing aspects of this form arises in the representation of time. Interestingly enough,the temporal progression in visual language has great relations to the metaphysicalconceptions of time found in the Buddhist Abhidharma philosophies. Through thisrelationship, we can gain a better understanding of both of these notions, and perhaps abit about our lives in general as well.
In all languages, syntax examines the ordering and relation between one type of conceptual input and the next. This process is no different in visual language, though theconceptual data may not be as incrementally small as in words. In images, conceptsbecome buried into a large framework, lending them to be referred to also as
. Thus, successive images (or words) could be referred to as a
. Invisual language, the use of panels or borders allows for a clear breakup between these