This essay looks at two recent multimedia works by the author, A Cloverleaf Interchange and You Are Marvelous, both of which are performance pieces utilizing video, music, and live-recited text. It examines the conceptual framework of the pieces-momentary stasis within a process of transition-though analysis of the work, considering historical precedent and relevant critical theory. First providing an overview of each piece to be discussed, the essay then explores various interdisciplinary sources of influence, including Paul Cézanne's concept of passage, wherein a single painterly gesture merges background and foreground; Charles Ives' Putnam Camp, wherein the composer recreates the sound of two marching bands approaching each other; Chris Marker's essay films; John Cage's work with the I Ching; and Robert Edmond Jones' prescient mid-century ideas about a future merging of theater and cinema. As theoretical touchstones, the essay considers Sol LeWitt's writings on conceptual art, Robert Ashley's discussions of his own multimedia works, and Michael Fried's essay "Art and Objecthood." The paper ultimately seeks to clarify and resolve the artist's paradoxical creative ambition to create an aesthetic experience of stillness that describes an occasion of change.