From a process philosophy perspective, the physical world comprises relative stabilities, processes and flows, yet visual perception privileges stable, solid objects and light-reflective surfaces. This chapter examines why vision has a substantive bias. In part it is due to a tendency for the perceiving body to fixate on those aspects of the environment that afford action – an evolutionary and biological imperative. Bergson refers to this as a logic of solid bodies in which the world is rendered salient through the demands of utility. This theme is explored through the philosophy of science, theories of genetic development, and environmental psychology. Speed is also a crucial factor in moderating states of permanence and impermanence in perception, for objects are only stable at certain rates of change. The chapter adopts Bergson’s claim that aesthetics and, more specifically, artistic vision must engage with the visual world processually to reveal a metaphysics of durée. The artist sees the natural world from a much more disinterested perspective in which sensual properties separate from objects to reveal their own qualitative movement.