Persons do not mirror themselves in running water-they mirror themselves in still water. Only what is still can still stillness of other things.-Confucius[T]he artist was so overwhelmed by splendor of Buddha that he could not draw when looking at him direcdy. When situation was presented to Buddha, he said, Let us go together to bank of a clear and limpid pool; whereupon Buddha sat himself by bank of pool, while artist sketched his drawing based upon reflection on water's surface. . . . This particular style became known as the image of Sage taken from (a reflection in) water.-Lama GegaO Thou who changest not, abide with me.-Henry Francis Lyte, Abide with Me, 1847Reflections and shadows-drawn lighdy on fluid or fixed surfaces of water and rock-dissolve dichotomy of still versus moving images, provoking a third concept: stillmoving imagenesis, or a simultaneous becoming of still and moving images. From Narcissus to Nosferatu, reflections and shadows have been discussed as significant others of things in myth, religion, philosophy, art, science, and popular culture. Taking still ethics and aesthetics (or with a German term, still Einstellung) of Confucius and Buddha as points of departure, attention is drawn to material and mediating stillmoving imageability-understood simply as material conditions for an entity's ability to create an image-of natural water and rock, which conditions immediate and immaterial stillmoving imagenesis of reflections and shadows. Acknowledging this complex in-betweenness, I describe reflections and shadows as being (im)material (im)media. These terms signify intangible relation of material and mediating (water, rock) with immaterial and immediate (light, reflection, shadow). With speed of light, immaterial reflections and shadows are drawn immediately on mediating materialities of water and rock.Look into a reflective surface-a metal mirror or a pool on a rain-swept sidewalk-or dance your fingers between a source of light and a surface, and you can sense stillmoving imagenesis of reflections and shadows. Such everyday contemplations open up an exploration of not only how we are moving {with) images but also how we are stilling {with) images, through our abilities to control movement and stillness of our own reflections and shadows. Reflections on water and shadows on rock move with us and are stilled by us. Every morning, we meet our reflection in mirror and adjust ourselves according to it; at nightfall, we encounter our shadows. Reflections and shadows, as touching surface tensions, are things to make sense with and make sense of. As complex human/nonhuman entanglements, they come into view as physical yet immaterial extensions of man.1To make sense of reflections and shadows, one can gain knowledge by posing question of how reflections and shadows, viewed as stillmoving imagenesis, dissolve dichotomy of still versus moving images. At stake in posing this question is not only a dissolution of this dichotomy but also performing of an archaeological intervention into conceptualizations of moving image (im)media, resulting in methodological and theoretical insights-an (im)media archaeological approach from objects, reflections, and shadows to concepts of stillmoving imagenesis-of consequence for disciplinary formations, since such stillmoving objects demand interdiciplinary insights. This (im) media archaeology uncovers, under layers of seemingly composite images-below still and moving images that appear later, historically-the stillmoving imagenesis of reflections and shadows. This essay first sketches field to which it intends to contribute and explains its key terms; second, it conducts analyses of shadows on fixed surface of rock by turning to Werner Herzog's film Cave of Forgotten Dreams (2010) and reflections on fluid surfaces, taking as its case study Richard Wilson's art installation 20:50 (1987); and third, essay concludes by oudining how these observations fundamentally recast dichotomy of still versus moving images as a trichotomy of stillmoving/still/moving imagenesis. …