English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The first experiences with kinetics applied to the visual arts occurred in the first decades of the twentieth century, when compositions with objects and structures in motion were developed, with the intention of exploring, usufruct, control and multiply the effects that these elements and resources generated for the aesthetic experience in environments and spaces destined for corporeal interactions. The spectators who lived such experiences, although tried to memorize the vestiges of the scene in movement, knew that it was an image impossible to be apprehended completely, and never definitive. The sensations experienced and the reflections generated on what they had witnessed, although shocking, were imprecise and ambiguous. Among the pioneers of this genre of art is the multimedia artist Lazló Moholy-Nagy, author of innumerable experimental productions, whose abstract nature served as a reference for artists interested in exploring the manipulation of non-conventional media and techniques in the field of painting, sculpture, photography and cinema, as a strategy for artistic and scientific research. His studies on image included the use of light to generate compositions, possible to be apprehended only in movement. Therefore, he explored photography and cinema, not as means to produce images, but experienced them as transdisciplinary, imbricated areas, whose superposition alters the sensory perception of observers, allowing them to imagine, through the dematerialization of light effects, like "see in movement". This article is one of the products of the biennial research project (2018-2019), which studies the Oskar Schlemmer Triadic Ballet, in dialogue with the production of the other teachers of the German teaching institution. We discussed inspired by art curators and theorists, how the assumptions and exploratory empiricism of Moholy-Nagy materiality contaminated contemporary artists such as the American Bill Viola.

En movimiento: las (im) posibilidades de las imágenes flagradas entre múltiples (im)previsibles.