{"id":8444,"date":"2024-03-23T14:34:52","date_gmt":"2024-03-23T14:34:52","guid":{"rendered":"https:\/\/williamcromar.com\/newmediawiki\/?p=8444"},"modified":"2024-03-23T17:07:24","modified_gmt":"2024-03-23T17:07:24","slug":"chapter-6-visual-elements-iii-kinematics","status":"publish","type":"post","link":"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/","title":{"rendered":"CHAPTER 6 \u2014 Visual Elements III: Kinematics"},"content":{"rendered":"\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title\" style=\"cursor:inherit\">Contents<\/div>\n<label for=\"ez-toc-cssicon-toggle-item-69f1200cdc024\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"ez-toc-cssicon\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-69f1200cdc024\"  aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Change_over_time\" >Change over time<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Beyond_Kandinsky_Kinematics\" >Beyond Kandinsky: Kinematics<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Related_terms_Time_Motion\" >Related terms: Time | Motion<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#The_arrow_of_time\" >The arrow of time<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Memory_and_anticipation\" >Memory and anticipation<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Linear_time\" >Linear time<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Cyclical_and_parallel_time\" >Cyclical and parallel time<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Motion\" >Motion<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Implied_motion\" >Implied motion<\/a><ul class='ez-toc-list-level-5' ><li class='ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Simultenaety\" >Simultenaety<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Suspension\" >Suspension<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Action_and_ritual\" >Action and ritual<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Actual_motion\" >Actual motion<\/a><ul class='ez-toc-list-level-5' ><li class='ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Happening_and_performance\" >Happening and performance<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Mobiles\" >Mobiles<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Illusion_of_motion\" >Illusion of motion<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Force\" >Force<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Active_vs_passive\" >Active vs. passive<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Internal_vs_external\" >Internal vs. external<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Timelines_and_hierarchies\" >Timelines and hierarchies<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Time_in_cinema\" >Time in cinema<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Time_manipulations\" >Time manipulations<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-23\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Compression\" >Compression<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-24\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Expansion\" >Expansion<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-25\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Reversal\" >Reversal<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-26\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#n-Narratives_time_and_interactivity\" >n-Narratives: time and interactivity<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-27\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#The_Web\" >The Web<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-28\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Gaming\" >Gaming<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-29\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/#Code_is_poetry\" >Code is poetry<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-text-align-right has-small-font-size\"><em>18-minute read<\/em><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"694\" height=\"694\" data-attachment-id=\"30\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/nmw\/paralleluniverses_01\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" data-orig-size=\"694,694\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"parallelUniverses_01\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" src=\"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1\" alt=\"\" class=\"wp-image-30\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png 694w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-300x300.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-150x150.png 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-100x100.png 100w\" sizes=\"auto, (max-width: 694px) 100vw, 694px\" \/><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Change_over_time\"><\/span>Change over time<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>For thousands of years, artists have used all kinds of images and media to depict the fourth dimension: time.\u00a0In our upcoming readings on metaphors to cinema in Chapter 16, we will\u00a0encounter how prehistoric people portray motion in paintings and carvings of animals. <a href=\"http:\/\/en.wikipedia.org\/wiki\/Trajan%27s_Column\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Trajan&#8217;s Column<\/strong><\/a> in Rome contains a triumphal narrative of a conquering hero in a bas-relief spiral that plays like a filmstrip. The <a href=\"http:\/\/en.wikipedia.org\/wiki\/Admonitions_Scroll\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Admonitions Scroll<\/strong><\/a> from the Song Dynasty era in China is another panel narrative. Depicting time and motion is a human impulse that permeates every era and culture.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1900\" height=\"1900\" data-attachment-id=\"8460\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/aztec_stone_of_the_sun_5322795461_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o.jpg\" data-orig-size=\"1900,1900\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;3.7&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;DMC-FZ28&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1247873747&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;37.8&quot;,&quot;iso&quot;:&quot;400&quot;,&quot;shutter_speed&quot;:&quot;0.125&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"aztec_stone_of_the_sun_5322795461_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o-1024x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o.jpg\" alt=\"\" class=\"wp-image-8460\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o.jpg 1900w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o-300x300.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o-1024x1024.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o-150x150.jpg 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o-768x768.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o-1536x1536.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aztec_stone_of_the_sun_5322795461_o-100x100.jpg 100w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\" \/><figcaption class=\"wp-element-caption\"><em>Aztec <a href=\"http:\/\/en.wikipedia.org\/wiki\/Aztec_calendar_stone\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Stone of the Sun<\/strong><\/a>, c. 1479<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"669\" height=\"1024\" data-attachment-id=\"8461\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/001_conrad_cichorius_die_reliefs_der_traianssaule_tafel_i\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I.jpg\" data-orig-size=\"1280,1959\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I-669x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I-669x1024.jpg\" alt=\"\" class=\"wp-image-8461\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I-669x1024.jpg 669w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I-196x300.jpg 196w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I-768x1175.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I-1004x1536.jpg 1004w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I-300x459.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/001_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_I.jpg 1280w\" sizes=\"auto, (max-width: 669px) 100vw, 669px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:001_Conrad_Cichorius,_Die_Reliefs_der_Traianss%C3%A4ule,_Tafel_I.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Trajan&#8217;s Column<\/strong><\/a> circa 1896<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"571\" data-attachment-id=\"8462\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/032_conrad_cichorius_die_reliefs_der_traianssaule_tafel_xxxii\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII.jpg\" data-orig-size=\"2000,1115\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;DMC-TZ1&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1220886544&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;5.2&quot;,&quot;iso&quot;:&quot;80&quot;,&quot;shutter_speed&quot;:&quot;0.0025&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII-1024x571.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII-1024x571.jpg\" alt=\"\" class=\"wp-image-8462\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII-1024x571.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII-300x167.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII-768x428.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII-1536x856.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/032_Conrad_Cichorius_Die_Reliefs_der_Traianssaule_Tafel_XXXII.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:032_Conrad_Cichorius,_Die_Reliefs_der_Traianss%C3%A4ule,_Tafel_XXXII.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Detail<\/strong><\/a>: Major battle against the Dacians<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69f1200cb1fa1&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69f1200cb1fa1\" class=\"aligncenter size-large is-resized wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"74\" data-attachment-id=\"8463\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/gu_kaizhi_001\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gu_Kaizhi_001-scaled.jpg\" data-orig-size=\"2560,186\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Gu_Kaizhi_001\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gu_Kaizhi_001-1024x74.jpg\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gu_Kaizhi_001-1024x74.jpg\" alt=\"\" class=\"wp-image-8463\" style=\"width:840px;height:auto\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gu_Kaizhi_001-1024x74.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gu_Kaizhi_001-300x22.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gu_Kaizhi_001-768x56.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gu_Kaizhi_001-1536x112.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gu_Kaizhi_001-2048x149.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\"><em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Admonitions_Scroll\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Admonitions Scroll<\/strong><\/a>, 5th to 8th century CE<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p>Only with the development of cinema, however, did the expression of kinetics in art \u2014 <strong>change over time<\/strong> \u2014 achieve full flower in the late 19th Century. Cinema developed along with the invention of the airplane and the automobile. Meanwhile, the exploration of temporal relativity by Einstein and the climax of the Machine Age made time and motion a touchstone for Cubists, Futurists, Dadaists, and Surrealists. Interest in expressing the fourth dimension extends, logically, into the Digital Age. It finds a means of expression through HTML5 animation and the virtually infinite links among websites. Of course, digital modeling, rendering, and animation are a major piece of the puzzle.<\/p>\n\n\n\n<p>In new media, what does it mean to express the fourth dimension, given the long history of artistic interest in doing so? Modeling can create a high-fidelity virtual world. Thus, it can express time and motion in any way that any media in the real world can.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Beyond_Kandinsky_Kinematics\"><\/span>Beyond Kandinsky: Kinematics<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Related_terms_Time_Motion\"><\/span>Related terms: Time | Motion<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>A&nbsp;<strong>Kinematic&nbsp;<\/strong>element exhibits the physical manifestation of change seen over time. It is the path of a volume in motion, a volume activated by internal or external phenomena. In classical physics, these phenomena include:&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong><em>Translation<\/em><\/strong>, moving position<\/li>\n\n\n\n<li><strong><em>Rotation<\/em><\/strong>, spinning about an axis, and&nbsp;<\/li>\n\n\n\n<li><strong><em>Vibration<\/em><\/strong>, shifting scale or position in a rhythmic temporal pattern <\/li>\n<\/ul>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"960\" data-attachment-id=\"8469\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/paul_klee_kinetic_5025185441\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paul_klee_kinetic_5025185441.png\" data-orig-size=\"1200,960\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"paul_klee_kinetic_5025185441\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paul_klee_kinetic_5025185441-1024x819.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paul_klee_kinetic_5025185441.png\" alt=\"\" class=\"wp-image-8469\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paul_klee_kinetic_5025185441.png 1200w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paul_klee_kinetic_5025185441-300x240.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paul_klee_kinetic_5025185441-1024x819.png 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paul_klee_kinetic_5025185441-768x614.png 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\" \/><figcaption class=\"wp-element-caption\"><em><em>Paul Klee, illustration of water, waterwheel, and hammer, 1925<\/em><\/em>  <sup><a href=\"#footnote_1_8444\" id=\"identifier_1_8444\" class=\"footnote-link footnote-identifier-link\" title=\"Klee, Paul. Pedagogical Sketchbook. Praeger. 7th ed. 1972. p. 30.\">1<\/a><\/sup><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>These are changes of state, and change can only be understood in terms of time. In reference to time and motion in a graphic context:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>Time and motion are closely related principles. Any word or image that moves functions both spatially and temporally. Motion is a kind of change, and change takes place in time. Time and motion are considerations for all design work, from a multipage printed book, whose pages follow each other in time, to animations for film and television, which have literal duration.<\/em><\/p>\n\n\n\n<p><em>Motion can be implied as well as literal, however. Diagonal compositions suggest movement, while rectilinear arrangements appear static. Cropping a shape can suggest motion, as does a sinuous line or a pointed, triangular shape &#8230; .<\/em><\/p>\n\n\n\n<p><em>Film is a visual art. Designers of motion graphics must think both like animators and filmmakers. A motion sequence is developed through a series of storyboards, which convey the main phases and movements of an animation.<\/em><\/p>\n<cite>\u2014 Lupton and Cole  <sup><a href=\"#footnote_2_8444\" id=\"identifier_2_8444\" class=\"footnote-link footnote-identifier-link\" title=\"upton, Ellen and Cole, Jennifer. Graphic Design: The New Basics. Princeton Architectural Press. 2008. p.20.\">2<\/a><\/sup><\/cite><\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_arrow_of_time\"><\/span>The arrow of time<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>In physics, <a href=\"http:\/\/en.wikipedia.org\/wiki\/Kinematics\">kinematics<\/a> describes the motion of entities. Physicists describe the&nbsp;fourth dimension&nbsp;as time. We are limited in experiencing the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Arrow_of_time\"><strong>arrow of time<\/strong><\/a> in one direction. Thus, it is difficult for us to perceive the dimensional realities of kinematic elements, except by analogy. For example, a mathematical illustration of a cube in four dimensions is the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Tesseract\">tesseract<\/a> or <a href=\"http:\/\/en.wikipedia.org\/wiki\/Hypercube\">hypercube<\/a>. Its construction is almost impossible to visualize because it is a purely mathematical concept. <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"480\" height=\"480\" data-attachment-id=\"8466\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/schlegel_wireframe_8-cell\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Schlegel_wireframe_8-cell.png\" data-orig-size=\"480,480\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Schlegel_wireframe_8-cell\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Schlegel_wireframe_8-cell.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Schlegel_wireframe_8-cell.png\" alt=\"\" class=\"wp-image-8466\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Schlegel_wireframe_8-cell.png 480w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Schlegel_wireframe_8-cell-300x300.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Schlegel_wireframe_8-cell-150x150.png 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Schlegel_wireframe_8-cell-100x100.png 100w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"https:\/\/en.wikipedia.org\/wiki\/Tesseract#\/media\/File:Schlegel_wireframe_8-cell.png\"><strong>Tesseract<\/strong><\/a><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>Nevertheless, the fourth dimension is essential when you are creating events. For example, you receive an invitation to a party. It&#8217;s at the corner of 1st Avenue and 2nd Street in an apartment on the 3rd floor at 4 pm. The invitation contains four coordinates. The numbers 1 and 2 reference horizontal coordinates on the city street grid. The number 3 is a vertical coordinate in the apartment building, and 4 indicating a temporal coordinate. Without that final coordinate, you might show up at the right place but at the wrong time.<strong>&nbsp;&nbsp;<\/strong><\/p>\n\n\n\n<p>We understand time as the fourth dimension, but we experience it differently from spatial dimensions. We experience space as whole cloth: a room we occupy reveals height, width, and depth to us all at once. But, at the scale we encounter the physical world in via our daily experience, we don&#8217;t see time as a totality. Rather, we recognize a past we can&#8217;t return to, a moment we call the present, and an unforeseeable future. Physicists call this phenomenon&nbsp;<em>time-asymmetry<\/em>. British astronomer&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Arthur_Eddington\" target=\"_blank\" rel=\"noreferrer noopener\">Arthur Eddington<\/a>&nbsp;coined the phrase &#8220;arrow of time&#8221; to succinctly describe our macroscopic experience of time as an asymmetrical one, moving only and constantly forward. Except for the ephemeral present, then, we describe the vast bulk of time in terms of&nbsp;<em>memory<\/em>&nbsp;for the past, and&nbsp;<em>anticipation<\/em>&nbsp;for the future.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Memory_and_anticipation\"><\/span>Memory and anticipation<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>In art, memory is codified in objects that serve as memorials. These focus on the memory of some individual, institution, or event important to the maintenance of culture. Much public art is concerned with this. One of the most engaging examples of this is <em><strong>Mnemonics<\/strong><\/em> by the team of Jones and Ginzel. Four hundred hollow, sealed glass blocks are placed at random locations in Manhattan&#8217;s Stuyvesant High School. Each block contains a fragment of a culturally significant artifact described by an etching in the glass describing its contents. Rather than encountering a Mayan pyramid as a textbook abstraction, students encounter a stone fragment as a tangible, tactile reality to remember.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"856\" data-attachment-id=\"8472\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/1280px-92b_mnemonics_students02_546-3kb\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-92B_Mnemonics_Students02_546.3KB.jpg\" data-orig-size=\"1280,856\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"1280px-92B_Mnemonics_Students02_546.3KB\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-92B_Mnemonics_Students02_546.3KB-1024x685.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-92B_Mnemonics_Students02_546.3KB.jpg\" alt=\"\" class=\"wp-image-8472\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-92B_Mnemonics_Students02_546.3KB.jpg 1280w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-92B_Mnemonics_Students02_546.3KB-300x201.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-92B_Mnemonics_Students02_546.3KB-1024x685.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-92B_Mnemonics_Students02_546.3KB-768x514.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><figcaption class=\"wp-element-caption\"><em><em><em>Kristin Jones and Andrew Ginzel,&nbsp;<\/em><strong><a href=\"https:\/\/en.m.wikipedia.org\/wiki\/File:92B_Mnemonics_Students02_(546.3KB).jpg\" target=\"_blank\" rel=\"noreferrer noopener\">Mnemonics<\/a><\/strong><em>, 1992<\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"699\" height=\"1024\" data-attachment-id=\"586\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/controversial-subject-disclaimer\/michelangelos_david_-_right_view_2\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Michelangelos_David_-_right_view_2.jpg\" data-orig-size=\"699,1024\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Michelangelos_David_-_right_view_2\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Michelangelos_David_-_right_view_2.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Michelangelos_David_-_right_view_2.jpg\" alt=\"\" class=\"wp-image-586\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Michelangelos_David_-_right_view_2.jpg 699w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Michelangelos_David_-_right_view_2-205x300.jpg 205w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Michelangelos_David_-_right_view_2-300x439.jpg 300w\" sizes=\"auto, (max-width: 699px) 100vw, 699px\" \/><figcaption class=\"wp-element-caption\"><em>Michelangelo, <a href=\"http:\/\/en.wikipedia.org\/wiki\/David_%28Michelangelo%29\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>David<\/strong><\/a>, 1504<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"677\" data-attachment-id=\"8476\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/attachment\/1520241338923\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1520241338923.jpg\" data-orig-size=\"1024,677\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"1520241338923\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1520241338923.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1520241338923.jpg\" alt=\"\" class=\"wp-image-8476\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1520241338923.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1520241338923-300x198.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1520241338923-768x508.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Michelangelo, detail from <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Creation_of_Adam\" target=\"_blank\" rel=\"noreferrer noopener\">The Creation of Adam<\/a><\/strong>, 1509<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Renaissance artist Michelangelo understood that to depict a moment just before a significant act creates a high degree of dramatic tension in a work. His <em><strong>David<\/strong> <\/em>sculpture shows a hero, gazing with a determined but uncertain look at the enemy, just before he lifts the sling off his back to cast the stone. In the Sistine Chapel mural panel depicting <em><strong>The Creation of Adam<\/strong><\/em>, the fingers of God and Adam are separated, suggesting a gap between creation and the moment depicted. Anticipation was a device he understood from the study of Classical works. The potential energy in Myron&#8217;s <em><strong>Discobolus<\/strong><\/em> can be appreciated in the wind-up just a moment before the release of the discus.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1587\" height=\"2560\" data-attachment-id=\"8473\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/myron_discobolus_5323400850_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/myron_discobolus_5323400850_o-scaled.jpg\" data-orig-size=\"1587,2560\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;4&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 350D DIGITAL&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1138450901&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;90&quot;,&quot;iso&quot;:&quot;800&quot;,&quot;shutter_speed&quot;:&quot;0.005&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"myron_discobolus_5323400850_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/myron_discobolus_5323400850_o-635x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/myron_discobolus_5323400850_o-scaled.jpg\" alt=\"\" class=\"wp-image-8473\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/myron_discobolus_5323400850_o-scaled.jpg 1587w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/myron_discobolus_5323400850_o-186x300.jpg 186w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/myron_discobolus_5323400850_o-635x1024.jpg 635w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/myron_discobolus_5323400850_o-768x1239.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/myron_discobolus_5323400850_o-952x1536.jpg 952w\" sizes=\"auto, (max-width: 1587px) 100vw, 1587px\" \/><figcaption class=\"wp-element-caption\"><em>Roman bronze casting after Myron,&nbsp;<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Discobolus\" target=\"_blank\" rel=\"noreferrer noopener\">Discobolus<\/a><\/strong>, circa 460-450 BCE<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Linear_time\"><\/span>Linear time<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Our view of the arrow of time is informed by our culture. In the West, time is largely regarded as a straight-line phenomenon, continually moving forward. We see expressions of linear time in the panel art of the Middle Ages. Sassetta&#8217;s <strong><em>Meeting of Saint Antonio and Saint Paul<\/em><\/strong> implies a linear development of time, depicting Saint Anthony as a dark-robed, haloed figure encountering events along his journey, finally meeting Saint Paul in the foreground. Work like this told biblical stories to a largely illiterate population. Our population is largely literate, but graphic novels and panel-based narratives such as Art Spiegelman&#8217;s <strong><em>Maus<\/em><\/strong> use a similar visual construct \u2014 the repeated, recognizable figure \u2014 to move a narrative forward in time.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"1137\" data-attachment-id=\"8482\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/sassetta_saint_anthony_5323400912_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sassetta_saint_anthony_5323400912_o.jpg\" data-orig-size=\"800,1137\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"sassetta_saint_anthony_5323400912_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sassetta_saint_anthony_5323400912_o-720x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sassetta_saint_anthony_5323400912_o.jpg\" alt=\"\" class=\"wp-image-8482\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sassetta_saint_anthony_5323400912_o.jpg 800w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sassetta_saint_anthony_5323400912_o-211x300.jpg 211w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sassetta_saint_anthony_5323400912_o-720x1024.jpg 720w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sassetta_saint_anthony_5323400912_o-768x1092.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sassetta_saint_anthony_5323400912_o-300x426.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\"><em>Stefano di Giovanni (il Sassetta),&nbsp;<a href=\"http:\/\/www.artexpertswebsite.com\/pages\/artists\/sassetta.php\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Meeting of Saint Antonio and Saint Paul<\/strong><\/a>, circa 144 CE<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"678\" height=\"1024\" data-attachment-id=\"8483\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/kois-jumbo\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Kois-jumbo.webp\" data-orig-size=\"678,1024\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Kois-jumbo\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Kois-jumbo.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Kois-jumbo.webp\" alt=\"\" class=\"wp-image-8483\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Kois-jumbo.webp 678w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Kois-jumbo-199x300.webp 199w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Kois-jumbo-300x453.webp 300w\" sizes=\"auto, (max-width: 678px) 100vw, 678px\" \/><figcaption class=\"wp-element-caption\"><em>Art Spiegelman, page from <strong><a href=\"https:\/\/www.nytimes.com\/2011\/12\/04\/books\/review\/the-making-of-maus.html\" target=\"_blank\" rel=\"noreferrer noopener\">MetaMaus<\/a><\/strong>, 2011, the 25th anniversary edition of <strong>Maus<\/strong><\/em>.<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Cyclical_and_parallel_time\"><\/span>Cyclical and parallel time<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" data-attachment-id=\"8485\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/sundial_close-up_at_the_jantar_mantar\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-scaled.jpg\" data-orig-size=\"1920,2560\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;5&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon PowerShot S2 IS&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1183816070&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;6&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0.001&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Sundial_Close-up_at_the_Jantar_Mantar\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-768x1024.jpg\" src=\"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-scaled.jpg?fit=1920%2C2560&amp;ssl=1\" alt=\"\" class=\"wp-image-8485\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-scaled.jpg 1920w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-225x300.jpg 225w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-768x1024.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-1152x1536.jpg 1152w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-1536x2048.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Sundial_Close-up_at_the_Jantar_Mantar-300x400.jpg 300w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"http:\/\/www.jantarmantar.org\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Jantar Mantar<\/strong><\/a>, 1727-34<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Many non-Western cultures view the arrow of time as non-linear, creating cyclic or parallel concepts of time. The Aztec calendar seen above encoded the cycles of time in a circle divided into quadrants representing prior incarnations of the universe, while the stark, geometric environment of the astronomical observatories known as <em><strong>Jantar Mantar<\/strong><\/em>, created during the Mughal period in India, takes its striking sculptural form from the cyclic celestial phenomena they are designed to record.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>A view of time as a parallel, multivalent phenomenon is developed in Doug Aitkin&#8217;s large-scale video work Sleepwalkers, which is documented on the MOMA website. Five urban characters are chronicled through one day&#8217;s events, each projected at random on the facade of the museum, creating a sense of parallel action, flow, and movement in the courtyard space.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1502\" height=\"1001\" data-attachment-id=\"8486\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/aitkin_sleepwalkers_5322797035_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aitkin_sleepwalkers_5322797035_o.png\" data-orig-size=\"1502,1001\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"aitkin_sleepwalkers_5322797035_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aitkin_sleepwalkers_5322797035_o-1024x682.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aitkin_sleepwalkers_5322797035_o.png\" alt=\"\" class=\"wp-image-8486\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aitkin_sleepwalkers_5322797035_o.png 1502w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aitkin_sleepwalkers_5322797035_o-300x200.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aitkin_sleepwalkers_5322797035_o-1024x682.png 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/aitkin_sleepwalkers_5322797035_o-768x512.png 768w\" sizes=\"auto, (max-width: 1502px) 100vw, 1502px\" \/><figcaption class=\"wp-element-caption\"><em>Doug Aitkin,&nbsp;<a href=\"http:\/\/www.moma.org\/interactives\/exhibitions\/2007\/aitken\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Sleepwalkers<\/strong><\/a>, 2007<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Motion\"><\/span>Motion<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>As beings rooted in time, we are hard-wired to observe, create, and respond to change over time in our environment. Change is revealed over time by our perception of motion. Observation and expression of motion as a function of change of position were greatly aided by the invention of photography, and several artists, including Edweard Muybridge and Thomas Eakins, used multiple cameras and\/or multiple exposures on photographic plates to record sequential images. An homage to these kinds of images has been created by Peter Jansen in <em><strong>Human Motions<\/strong><\/em> sculptures, which he generates with 3D modeling.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1862\" data-attachment-id=\"8492\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/eakins_history_of_a_jump_5322797145\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/eakins_history_of_a_jump_5322797145-scaled.jpg\" data-orig-size=\"2560,1862\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"eakins_history_of_a_jump_5322797145\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/eakins_history_of_a_jump_5322797145-1024x745.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/eakins_history_of_a_jump_5322797145-scaled.jpg\" alt=\"\" class=\"wp-image-8492\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/eakins_history_of_a_jump_5322797145-scaled.jpg 2560w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/eakins_history_of_a_jump_5322797145-300x218.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/eakins_history_of_a_jump_5322797145-1024x745.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/eakins_history_of_a_jump_5322797145-768x559.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/eakins_history_of_a_jump_5322797145-1536x1117.jpg 1536w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><figcaption class=\"wp-element-caption\"><em>Thomas Eakins,&nbsp;<a href=\"http:\/\/www.whyy.org\/about\/pressroom\/eakins.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>History of a Jump<\/strong><\/a>, 1885<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/FEKSZgw4cPQ?si=SAldNIzBP3pB0VO9\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Peter Jansen,&nbsp;<a href=\"http:\/\/www.humanmotions.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Human Motions<\/strong><\/a>, 2007<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Implied_motion\"><\/span>Implied motion<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Motion can itself be the subject or content of a work of art. The depiction of the Hindu god Shiva as <strong>Lord of the Dance<\/strong> uses a dynamic pose, visual repetition, and counterbalancing arms and legs in a composition reminiscent of the overlaid figures in Peter Jansen&#8217;s work above. Most obviously, the doubled arms function both as a suggestion of motion at the same time each hand has a symbolic significance, but other elements, such as the points of fire on the ring, symbolize the soul&#8217;s cycles of rebirth.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1539\" height=\"2048\" data-attachment-id=\"8495\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/shiva_nataraja_lord_of_the_dance_chola_dynasty_c-_990_ad_tamil_nadu_india_bronze_-_freer_gallery_of_art_-_dsc04509\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509.jpg\" data-orig-size=\"1539,2048\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Picasa&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509-770x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509.jpg\" alt=\"\" class=\"wp-image-8495\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509.jpg 1539w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509-225x300.jpg 225w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509-770x1024.jpg 770w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509-768x1022.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509-1154x1536.jpg 1154w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Shiva_Nataraja_Lord_of_the_Dance_Chola_dynasty_c._990_AD_Tamil_Nadu_India_bronze_-_Freer_Gallery_of_Art_-_DSC04509-300x399.jpg 300w\" sizes=\"auto, (max-width: 1539px) 100vw, 1539px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Nataraja\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Shiva Nataraja, the Lord of the Dance<\/strong><\/a><em>,&nbsp;ca. 990<\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Simultenaety\"><\/span>Simultenaety<span class=\"ez-toc-section-end\"><\/span><\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1552\" height=\"2048\" data-attachment-id=\"8496\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/juan_gris_jose_victoriano_gonzalez_perez_spanish_-_still_life_before_an_open_window_place_ravignan_-_google_art_project-1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1.jpg\" data-orig-size=\"1552,2048\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1-776x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1.jpg\" alt=\"\" class=\"wp-image-8496\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1.jpg 1552w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1-227x300.jpg 227w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1-776x1024.jpg 776w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1-768x1013.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1-1164x1536.jpg 1164w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Juan_Gris_Jose_Victoriano_Gonzalez_Perez_Spanish_-_Still_Life_before_an_Open_Window_Place_Ravignan_-_Google_Art_Project-1-300x396.jpg 300w\" sizes=\"auto, (max-width: 1552px) 100vw, 1552px\" \/><figcaption class=\"wp-element-caption\"><em><em>Juan Gris,&nbsp;<\/em><a href=\"http:\/\/www.artchive.com\/artchive\/G\/gris\/ravignan.jpg.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Still Life before an Open Window: Place Ravignan<\/strong><\/a><em>, 1915<\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Cubists like Juan Gris were fascinated by simultaneity \u2014 multiple events occurring within a single frame of reference. In <em><strong>Place Ravignan<\/strong><\/em>, we see the title of the newspaper <em>Le Journal<\/em> from at least 4 aspects, suggesting the dynamic motion of a spectator&#8217;s shifting point of view in relationship to the static object.<\/p>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Suspension\"><\/span>Suspension<span class=\"ez-toc-section-end\"><\/span><\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Of the 20th-century artists obsessed with motion, perhaps no one explored the territory better than Marcel Duchamp. Where Cubism was fascinated with the changing point of view of the spectator, Duchamp reverses the equation and explores the changing position of the subject. He was certainly aware of the chrono-photography experiments of Eakins and <a href=\"http:\/\/www.youtube.com\/watch?v=zQdoP6r9xmY\" target=\"_blank\" rel=\"noreferrer noopener\">Edweard Muybridge<\/a>, inspiring <em><strong>Nude Descending a Staircase<\/strong><\/em>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"621\" height=\"1024\" data-attachment-id=\"7830\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/duchamp_-_nude_descending_a_staircase\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase.jpg\" data-orig-size=\"1242,2048\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Graydonw&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Duchamp_-_Nude_Descending_a_Staircase\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-621x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-621x1024.jpg\" alt=\"\" class=\"wp-image-7830\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-621x1024.jpg 621w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-182x300.jpg 182w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-768x1266.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-932x1536.jpg 932w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-300x495.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase.jpg 1242w\" sizes=\"auto, (max-width: 621px) 100vw, 621px\" \/><figcaption class=\"wp-element-caption\"><em>Marcel Duchamp, <a href=\"https:\/\/philamuseum.org\/collection\/object\/51449\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Nude Descending a Staircase<\/strong><\/a>, 1912<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"367\" height=\"500\" data-attachment-id=\"3243\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/multiples\/glass\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/glass.jpg\" data-orig-size=\"367,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"glass\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/glass.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/glass.jpg\" alt=\"\" class=\"wp-image-3243\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/glass.jpg 367w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/glass-220x300.jpg 220w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/glass-300x409.jpg 300w\" sizes=\"auto, (max-width: 367px) 100vw, 367px\" \/><figcaption class=\"wp-element-caption\"><em>Marcel Duchamp,&nbsp;<a href=\"http:\/\/www.toutfait.com\/images\/GalleryImage\/Big_Gallery_Image_146.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Bride Stripped Bare by Her Bachelors, Even<\/strong><\/a>, 1915-23 \u2014 a.k.a. <strong>The Large Glass<\/strong><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Continuing his interest in depicting implied motion, Duchamp creates <em><strong>The Large Glass<\/strong><\/em>. In the archive of his website <em><strong><a href=\"https:\/\/web.archive.org\/web\/20160120051703\/https:\/\/www.understandingduchamp.com\/index.html\" target=\"_blank\" rel=\"noreferrer noopener\">Making Sense of Marcel Duchamp<\/a><\/strong><\/em>, Andrew Stafford notes, &#8220;<em>The Large Glass<\/em> depicts a chain reaction among abstract forces. That\u2019s why Duchamp subtitled it \u201ca delay in glass\u201d \u2014 because it shows a sequence of interactions, suspended in time.&#8221;&nbsp; <sup><a href=\"#footnote_3_8444\" id=\"identifier_3_8444\" class=\"footnote-link footnote-identifier-link\" title=\"Andrew Stafford, &quot;The Bride Stripped Bare by Her Bachelors, Even &mdash; also known as The Large Glass (1923),&quot; http:\/\/www.understandingduchamp.com\/text.html\">3<\/a><\/sup>  Visit Stafford&#8217;s site to see his marvelous animations of the <em>Glass<\/em>, presented as if it were indeed kinetic \u2014 but you&#8217;ll need the <strong><a href=\"https:\/\/ruffle.rs\/\" target=\"_blank\" rel=\"noreferrer noopener\">Ruffle<\/a><\/strong> plug-in to do so. Duchamp eventually embraces the kinetic realm of actual motion, as we&#8217;ll see below.<\/p>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Action_and_ritual\"><\/span>Action and ritual<span class=\"ez-toc-section-end\"><\/span><\/h5>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2048\" height=\"537\" data-attachment-id=\"8500\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/delaunay_bal_bulier_5322797301\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/delaunay_bal_bulier_5322797301.jpg\" data-orig-size=\"2048,537\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"delaunay_bal_bulier_5322797301\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/delaunay_bal_bulier_5322797301-1024x269.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/delaunay_bal_bulier_5322797301.jpg\" alt=\"\" class=\"wp-image-8500\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/delaunay_bal_bulier_5322797301.jpg 2048w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/delaunay_bal_bulier_5322797301-300x79.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/delaunay_bal_bulier_5322797301-1024x269.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/delaunay_bal_bulier_5322797301-768x201.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/delaunay_bal_bulier_5322797301-1536x403.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em>Sonia&nbsp;Delaunay,&nbsp;<\/em><a href=\"http:\/\/www.theslideprojector.com\/art6\/art6summer\/art6lecture11.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Bal Bullier<\/strong><\/a><em>, 1913<\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Cubism&#8217;s multiple points of view and shifting planes gave inspiration to other artists, including Sonia Delaunay, who enhanced the normally monochrome palette of early Cubism with the contrasting, visual push-pull of color. She develops multiple images of a couple dancing as a mash-up of Eakins&#8217; superimposed exposures with a Chinese scroll narrative. Meanwhile, the Italian Futurists added the love of speed to Cubist motion. The human experience of motion had been fundamentally changed by the automobile and the airplane. Umberto Boccioni captures the spirit of the age in flamboyant bursts of energy.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1416\" height=\"1764\" data-attachment-id=\"8501\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/unique_forms_of_continuity_in_space_1913_bronze_by_umberto_boccioni\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni.jpg\" data-orig-size=\"1416,1764\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni-822x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni.jpg\" alt=\"\" class=\"wp-image-8501\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni.jpg 1416w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni-241x300.jpg 241w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni-822x1024.jpg 822w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni-768x957.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni-1233x1536.jpg 1233w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Unique_Forms_of_Continuity_in_Space_1913_bronze_by_Umberto_Boccioni-300x374.jpg 300w\" sizes=\"auto, (max-width: 1416px) 100vw, 1416px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em>Umberto Boccioni,&nbsp;<\/em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Unique_Forms_of_Continuity_in_Space\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Unique Forms of Continuity in Space<\/strong><\/a>, 1913<\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Action Painting, a branch of Abstract Expressionism pioneered by Jackson Pollock, transforms the&nbsp;<em>act<\/em>&nbsp;of painting into the <em>content<\/em> of painting. Hans Namuth&#8217;s mesmerizing images of Pollock at work are almost as, and possibly more, interesting than the work itself. Action Painting records motion and presages Performance Art, turning the corner toward actual motion, as a means by which we can integrate motion into artistic expression.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"684\" height=\"710\" data-attachment-id=\"8504\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/sothebys-com-brightspotcdn\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sothebys-com.brightspotcdn.webp\" data-orig-size=\"684,710\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"sothebys-com.brightspotcdn\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sothebys-com.brightspotcdn.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sothebys-com.brightspotcdn.webp\" alt=\"\" class=\"wp-image-8504\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sothebys-com.brightspotcdn.webp 684w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sothebys-com.brightspotcdn-289x300.webp 289w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/sothebys-com.brightspotcdn-300x311.webp 300w\" sizes=\"auto, (max-width: 684px) 100vw, 684px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em>Hans Namuth,&nbsp;<\/em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Jackson_Pollock\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Jackson Pollock<\/strong><\/a><em>, 1950<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"503\" height=\"1024\" data-attachment-id=\"8503\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/pollock_november_5_1948_5323402068\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pollock_november_5_1948_5323402068.jpg\" data-orig-size=\"750,1527\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"pollock_november_5_1948_5323402068\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pollock_november_5_1948_5323402068-503x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pollock_november_5_1948_5323402068-503x1024.jpg\" alt=\"\" class=\"wp-image-8503\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pollock_november_5_1948_5323402068-503x1024.jpg 503w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pollock_november_5_1948_5323402068-147x300.jpg 147w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pollock_november_5_1948_5323402068-300x611.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pollock_november_5_1948_5323402068.jpg 750w\" sizes=\"auto, (max-width: 503px) 100vw, 503px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em>Jackson Pollock,<strong>&nbsp;<\/strong><\/em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Jackson_Pollock\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>No. 5<\/strong><\/a><em>, 1948<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Actual_motion\"><\/span>Actual motion<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"500\" data-attachment-id=\"8508\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/roto_duchamp\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/roto_duchamp.gif\" data-orig-size=\"500,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"roto_duchamp\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/roto_duchamp.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/roto_duchamp.gif\" alt=\"\" class=\"wp-image-8508\"\/><figcaption class=\"wp-element-caption\"><em>Marcel Duchamp,&nbsp;<a href=\"http:\/\/www.aqualoop.com\/aqua_sound\/delia\/d_corolles.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Rotoreliefs<\/strong><\/a>, 1923<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Flags, kites, banners, and other man-made objects meant to be activated by the wind have existed since ancient times. With the advent of the Machine Age and the electric motor, artists began harnessing mechanical forces to create works whose forms don&#8217;t simply imply motion, but actually indulge in it. Fresh from leaving his &#8220;delay in glass&#8221; definitively unfinished, Duchamp mashes up fan motors and phonographic turntables in a series of optical illusion machines seen here. The rotating elements of these &#8220;sculptures&#8221; develop a reading of a space generated by motion.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"798\" height=\"1024\" data-attachment-id=\"8509\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/yale_marcelduchamp_rotaryglassplates\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/yale_marcelduchamp_rotaryglassplates.jpg\" data-orig-size=\"1000,1283\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"yale_marcelduchamp_rotaryglassplates\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/yale_marcelduchamp_rotaryglassplates-798x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/yale_marcelduchamp_rotaryglassplates-798x1024.jpg\" alt=\"\" class=\"wp-image-8509\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/yale_marcelduchamp_rotaryglassplates-798x1024.jpg 798w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/yale_marcelduchamp_rotaryglassplates-234x300.jpg 234w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/yale_marcelduchamp_rotaryglassplates-768x985.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/yale_marcelduchamp_rotaryglassplates-300x385.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/yale_marcelduchamp_rotaryglassplates.jpg 1000w\" sizes=\"auto, (max-width: 798px) 100vw, 798px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em>Marcel Duchamp,&nbsp;<\/em><a href=\"http:\/\/www.toutfait.com\/images\/GalleryImage\/Big_Gallery_Image_125.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Rotary Glass Plates<\/strong><\/a><em>, 1920<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/3XJwkmJzfEo?si=AZ8weyu8sNywBh96\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/UT0Lzl4n6hI?si=ulDhI0ssma6wKRKg\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"591\" height=\"1024\" data-attachment-id=\"8510\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/duchamp_rotary_demisphere_532816115\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115.jpg\" data-orig-size=\"1154,2000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"duchamp_rotary_demisphere_532816115\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115-591x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115-591x1024.jpg\" alt=\"\" class=\"wp-image-8510\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115-591x1024.jpg 591w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115-173x300.jpg 173w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115-768x1331.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115-886x1536.jpg 886w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115-300x520.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_rotary_demisphere_532816115.jpg 1154w\" sizes=\"auto, (max-width: 591px) 100vw, 591px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Happening_and_performance\"><\/span>Happening and performance<span class=\"ez-toc-section-end\"><\/span><\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Sculptors like Naum Gabo and Jean Tinguely wished to divorce their work from traditional sculpture&#8217;s preoccupation with mass. Gabo creates the implication of form through rapid temporal repetition and distortion of a linear element, while Tinguely pioneers the hallmark chaos of Happenings and Performance in his self-destructing <em><strong>Homage to New York<\/strong><\/em>. He&#8217;s the grandfather of such post-apocalyptic artists as <a href=\"http:\/\/en.wikipedia.org\/wiki\/Peter_Fischli_%26_David_Weiss\" target=\"_blank\" rel=\"noreferrer noopener\">Peter Fischli and David Weiss<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1045\" height=\"1536\" data-attachment-id=\"7914\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/kinetic-construction-standing-wave-1919-20-replica-1985-by-naum-gabo-1890-1977\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10.jpg\" data-orig-size=\"1045,1536\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Kinetic Construction (Standing Wave) 1919-20, replica 1985 Naum Gabo 1890-1977 Presented by the artist through the American Federation of Arts 1966 http:\/\/www.tate.org.uk\/art\/work\/T00827&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;The Work of Naum Gabo (c) Nina \\u0026amp; Graham Williams \/ Tate, London 2023 \/ Photo (c) Tate&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Kinetic Construction (Standing Wave) 1919-20, replica 1985 by Naum Gabo 1890-1977&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Kinetic Construction (Standing Wave) 1919-20, replica 1985 by Naum Gabo 1890-1977\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Kinetic Construction (Standing Wave) 1919-20, replica 1985 Naum Gabo 1890-1977 Presented by the artist through the American Federation of Arts 1966 http:\/\/www.tate.org.uk\/art\/work\/T00827&lt;\/p&gt;\n\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-697x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10.jpg\" alt=\"\" class=\"wp-image-7914\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10.jpg 1045w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-204x300.jpg 204w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-697x1024.jpg 697w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-768x1129.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-300x441.jpg 300w\" sizes=\"auto, (max-width: 1045px) 100vw, 1045px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em>Naum Gabo,&nbsp;<\/em><a href=\"http:\/\/www.artnet.com\/magazine\/features\/kuspit\/kuspit3-27-2.asp\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Kinetic Construction (Standing Wave)<\/strong><\/a><em>, 1919-20<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"326\" height=\"500\" data-attachment-id=\"5693\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/reanimate\/tinguely2\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2.jpg\" data-orig-size=\"326,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Tinguely2\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2.jpg\" alt=\"\" class=\"wp-image-5693\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2.jpg 326w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2-196x300.jpg 196w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2-300x460.jpg 300w\" sizes=\"auto, (max-width: 326px) 100vw, 326px\" \/><figcaption class=\"wp-element-caption\"><em>Jean Tinguely,&nbsp;<a href=\"http:\/\/rosesinthecloset.files.wordpress.com\/2009\/10\/jean20tinguely20homage20to20new20york.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Homage to New York<\/strong><\/a>, 1960<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div style=\"padding:75% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/8537769?h=535a98192e&#038;title=0&#038;byline=0&#038;portrait=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\n\n\n<p><em>Rare footage of <strong>Homage to New York<\/strong> in action<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Mobiles\"><\/span>Mobiles<span class=\"ez-toc-section-end\"><\/span><\/h5>\n\n\n\n<p>Although some of his early work used mechanics, Alexander Calder eschews the mechano-nightmare metaphors of Tinguely for a return to the most ancient kinetic art force \u2014 air motion \u2014 in his invention of the mobile. One of his most spectacular mobiles is <em><strong>Untitled<\/strong><\/em> at the East Wing of the National Gallery of Art in Washington. It moves with a silent grandeur. An amateur time-lapse video reveals the patterns of that motion.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"1067\" data-attachment-id=\"8513\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/calder_untitled_east-wing_5328160989_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/calder_untitled_east-wing_5328160989_o.jpg\" data-orig-size=\"1600,1067\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS DIGITAL REBEL XSi&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1252591162&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;23&quot;,&quot;iso&quot;:&quot;200&quot;,&quot;shutter_speed&quot;:&quot;0.016666666666667&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"calder_untitled_east-wing_5328160989_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/calder_untitled_east-wing_5328160989_o-1024x683.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/calder_untitled_east-wing_5328160989_o.jpg\" alt=\"\" class=\"wp-image-8513\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/calder_untitled_east-wing_5328160989_o.jpg 1600w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/calder_untitled_east-wing_5328160989_o-300x200.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/calder_untitled_east-wing_5328160989_o-1024x683.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/calder_untitled_east-wing_5328160989_o-768x512.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/calder_untitled_east-wing_5328160989_o-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" \/><figcaption class=\"wp-element-caption\"><em>Alexander Calder, <strong><a href=\"https:\/\/www.nga.gov\/collection\/art-object-page.56517.html\" target=\"_blank\" rel=\"noreferrer noopener\">Untitled<\/a><\/strong>, 1976<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/hlsfBqH7KG8?si=4bpgW9ezW8Jvqg5z\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Time-lapse video of&nbsp;<strong>Untitled<\/strong>&nbsp;in motion. The work responds to air convection currents in the atrium space of the <strong>National Gallery East Wing<\/strong>.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Illusion_of_motion\"><\/span>Illusion of motion<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>While Duchamp&#8217;s illusionistic works rely on motion to create a sense of space, many static optical illusions are created by a phenomenon known as <strong>anomalous motion<\/strong>. The effects of this are quite unsettling to some individuals. Less seizure-inducing is the illusion of motion generated by the cinema, which is covered in greater detail elsewhere in these readings. A similar illusion to that of cinema is created by animated light boards, used by advertising to get our attention. Jenny Holzer subverts their use by supplying her signature &#8220;truisms&#8221; in a famous installation at the Guggenheim Museum in New York. The text seems to flow down the ramp wall, but this is an effect of lights carefully programmed to switch on and off in a pattern.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-attachment-id=\"8515\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/rotating_snakes_5328161399_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/rotating_snakes_5328161399_o.gif\" data-orig-size=\"1024,768\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"rotating_snakes_5328161399_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/rotating_snakes_5328161399_o.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/rotating_snakes_5328161399_o.gif\" alt=\"\" class=\"wp-image-8515\" style=\"object-fit:cover\"\/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em>Akiyoshi Kitaoka,&nbsp;<\/em><a href=\"http:\/\/www.ritsumei.ac.jp\/~akitaoka\/rotsnakee.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Rotating Snakes<\/strong><\/a><em>, 1999. Kitaoka has created numerous anomalous motion illusions&nbsp;<a href=\"http:\/\/www.ritsumei.ac.jp\/~akitaoka\/index-e.html\" target=\"_blank\" rel=\"noreferrer noopener\">at his website<\/a>.&nbsp;<mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-vivid-red-color\">Caution: observing at a large scale can induce dizziness seizures in sensitive viewers.<\/mark><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"977\" data-attachment-id=\"8516\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/holzer_victim_5328161235_o-1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/holzer_victim_5328161235_o-1.jpg\" data-orig-size=\"1280,977\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;Photograph by David Heald.  \\u00ac\\u00a9 Solomon R. Guggenheim Foundation, New York. All Rights Reserved.&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"holzer_victim_5328161235_o-1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/holzer_victim_5328161235_o-1-1024x782.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/holzer_victim_5328161235_o-1.jpg\" alt=\"\" class=\"wp-image-8516\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/holzer_victim_5328161235_o-1.jpg 1280w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/holzer_victim_5328161235_o-1-300x229.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/holzer_victim_5328161235_o-1-1024x782.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/holzer_victim_5328161235_o-1-768x586.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em>Jenny Holzer,&nbsp;<\/em><a href=\"http:\/\/www.scu.edu.au\/schools\/edu\/ICT\/student_pages\/sem2_2004\/gcrawford\/holzer.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text)<\/strong><\/a>,&nbsp;<em>1989. Letters appear to move laterally as diodes turn on and off.<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Force\"><\/span>Force<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Change comes through motion, but motion comes about by the application of a force to a body. Like motion, force can become the content of a work of art. The nature of that expression can change radically whether the force is seen as active or passive, internal or external. Because force is subject to physical laws, the 3D animating artist has to take care that the nature of the force being modeled is consistent with the motion seen. A kicked ball should interact with a foot. We achieve this by deforming and moving with the proper perception of acceleration in the right vector direction. Unless slapstick is the point, of course: the ball can stay stuck to the ground so the kicker trips over it. Even then, we must invent a set of physical laws to maintain consistency with such a kooky world.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Active_vs_passive\"><\/span>Active vs. passive<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Active force creates obvious spectacle and drama. We are familiar with it through action films and other popular entertainment. In art, we see expressions of it in Performance Art like that of Ant Farm in <em><strong>Media Burn<\/strong><\/em>. Ant Farm simultaneously celebrates and lampoons America&#8217;s love affair with the auto and television. This created a happening that got, not coincidentally, a lot of media coverage, which they documented in their hilarious video.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2560\" height=\"1713\" data-attachment-id=\"8518\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/ant_farm_media_burn_532816169\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ant_farm_media_burn_532816169-scaled.jpg\" data-orig-size=\"2560,1713\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"ant_farm_media_burn_532816169\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ant_farm_media_burn_532816169-1024x685.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ant_farm_media_burn_532816169-scaled.jpg\" alt=\"\" class=\"wp-image-8518\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ant_farm_media_burn_532816169-scaled.jpg 2560w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ant_farm_media_burn_532816169-300x201.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ant_farm_media_burn_532816169-1024x685.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ant_farm_media_burn_532816169-768x514.jpg 768w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em>Ant Farm,&nbsp;<\/em><a href=\"http:\/\/www.tate.org.uk\/modern\/exhibitions\/mediaburn\/antfarm.shtm\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Media Burn<\/strong><\/a><em>, 1975<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/U53-Sfnqwss?si=TTbU_xE37nDjOuPK\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Excerpt from Ant Farm&#8217;s video documentary of &nbsp;<strong>Media Burn<\/strong><\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Passive force introduces some agent of change other than the artist&#8217;s will to create the form of the work. In the 20th Century, events determined by chance operations became the hallmark of graphic works by Jean Arp and the musical work of John Cage. Cage introduced the use of <a href=\"http:\/\/en.wikipedia.org\/wiki\/I_Ching_divination\" target=\"_blank\" rel=\"noreferrer noopener\">I Ching coins<\/a> to a more deterministically-minded West. He needed to reference Eastern cultures more willing to acknowledge the role of chance and divination in determining one&#8217;s fate.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"830\" data-attachment-id=\"8339\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-4-visual-elements-i-point-line-plane\/ch04_047\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ch04_047.jpg\" data-orig-size=\"1264,1024\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"ch04_047\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ch04_047-1024x830.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ch04_047-1024x830.jpg\" alt=\"\" class=\"wp-image-8339\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ch04_047-1024x830.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ch04_047-300x243.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ch04_047-768x622.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ch04_047.jpg 1264w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em>Jean Arp,&nbsp;<\/em><a href=\"https:\/\/www.tate.org.uk\/servlet\/ViewWork?workid=591\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Constellation According to the Laws of Chance<\/strong><\/a>,&nbsp;<em>ca. 1930<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"825\" height=\"1024\" data-attachment-id=\"8520\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/john_cage_prepared_piano_5328161641_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/john_cage_prepared_piano_5328161641_o.jpg\" data-orig-size=\"825,1024\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"john_cage_prepared_piano_5328161641_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/john_cage_prepared_piano_5328161641_o.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/john_cage_prepared_piano_5328161641_o.jpg\" alt=\"\" class=\"wp-image-8520\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/john_cage_prepared_piano_5328161641_o.jpg 825w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/john_cage_prepared_piano_5328161641_o-242x300.jpg 242w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/john_cage_prepared_piano_5328161641_o-768x953.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/john_cage_prepared_piano_5328161641_o-300x372.jpg 300w\" sizes=\"auto, (max-width: 825px) 100vw, 825px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><a href=\"http:\/\/artnews.org\/gallery.php?i=694&amp;exi=15706&amp;MACBA&amp;John_Cage_and_Experimental_Art\" target=\"_blank\" rel=\"noreferrer noopener\">John Cage<\/a>&nbsp;playing a &#8220;prepared&#8221; piano<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/zcKRZ2i-1zQ?si=xFFT6wSka6XMYzEj\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n\n\n<p><em>&nbsp;Cage,&nbsp;Suite for Toy Piano<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<p>Here, Cage does not compose music. He rather composes a game that generates the musical composition \u2014 analogous to writing a code script. Keep this metaphor in mind when you begin working with scripting languages that automate functions for you.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Internal_vs_external\"><\/span>Internal vs. external<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Mechanical kinetic art applies a motor, the potential energy of a falling object, or other internally generated forces to create movement in other elements. In the work by Man Ray variously titled <em><strong>Indestructible Object<\/strong><\/em> or<em> <strong>Object to be Destroyed<\/strong><\/em>, he uses a wind-up metronome spring to induce the mesmerizing motion of a single eye mounted to the counterweight. Once we turn the key, the object self-propels \u2014 try it yourself!<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<div style=\"width: 200%; display: inline-block; position: relative; overflow: hidden; margin-left: auto; margin-right: auto;\">\n<div style=\"position: absolute; top: 0; left: 0; \n right: 0;\">\n<iframe loading=\"lazy\" src=\"https:\/\/williamcromar.com\/manray\/manray.html\" width=\"400\" height=\"400\" allowfullscreen=\"true\" webkitallowfullscreen=\"true\" scrolling=\"no\" \n mozallowfullscreen=\"true\" frameborder=\"0\" style=\"width:100%; height:800px;\n-moz-transform: scale(0.5, 0.5); \n-webkit-transform: scale(0.5, 0.5); \n-o-transform: scale(0.5, 0.5);\n-ms-transform: scale(0.5, 0.5);\ntransform: scale(0.5, 0.5); \n-moz-transform-origin: top left;\n-webkit-transform-origin: top left;\n-o-transform-origin: top left;\n-ms-transform-origin: top left;\ntransform-origin: top left;\noverflow: hidden;\">\n<p>Your browser does not support iframes.<\/p>\n<\/iframe>\n  <\/div>\n  <div style=\"padding-top: 400px;\">     <\/div>\n<\/div>\n\n\n\n<p><em>williamCromar, <strong>Infinitely Indestructible Object<\/strong>, 2018. The hammer is your cursor: tap the eye to stop, and tap the key to restart.<\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"270\" height=\"369\" data-attachment-id=\"5705\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/reanimate\/objectdestroyed\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Objectdestroyed.jpg\" data-orig-size=\"270,369\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Objectdestroyed\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Objectdestroyed.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Objectdestroyed.jpg\" alt=\"\" class=\"wp-image-5705\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Objectdestroyed.jpg 270w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Objectdestroyed-220x300.jpg 220w\" sizes=\"auto, (max-width: 270px) 100vw, 270px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em>Man Ray,&nbsp;<\/em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Object_to_Be_Destroyed\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Indestructible Object<\/strong><\/a><em>, 1964 replica of 1923 original<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>Man Ray&#8217;s object suggests spectator interaction, but you&#8217;ll never get to touch one in a museum (or see one move, for that matter, in a blatant curatorial misunderstanding of how to display such a work!). Increasingly over the last few decades, however, artists (and, more importantly, museums) have explored the territory of spectator interactivity.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Pioneer video installation artist Gary Hill uses motion sensors hidden in the labyrinth of <em><strong>Withershins<\/strong><\/em> to trigger video clips in response to the presence of the audience. The video clips make ambiguous and contradictory suggestions about where next to go in the labyrinth. This creates a back-and-forth dialog between the internal motion of the video and the external motion of the spectators changing the order of the clips.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" data-attachment-id=\"8525\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/hill_withershins_5328161753\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/hill_withershins_5328161753.jpg\" data-orig-size=\"800,600\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"hill_withershins_5328161753\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/hill_withershins_5328161753.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/hill_withershins_5328161753.jpg\" alt=\"\" class=\"wp-image-8525\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/hill_withershins_5328161753.jpg 800w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/hill_withershins_5328161753-300x225.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/hill_withershins_5328161753-768x576.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em>Gary Hill,&nbsp;<\/em><a href=\"http:\/\/atc.berkeley.edu\/bio\/Gary_Hill\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Withershins<\/strong><\/a><em>, 1995<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Timelines_and_hierarchies\"><\/span>Timelines and hierarchies<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>The kinds of time-and-motion phenomena we&#8217;ve been discussing are possible to generate through careful understanding and use of two important functions: the timeline usually featured at the bottom of the interface, and a hierarchy interface. The timeline allows the artist to generate a change of geometry location over time, and all of the manipulations of time possible in traditional animation and cinema are possible to create there. A hierarchy interface such as the Outliner in Maya makes it possible to develop hierarchies among objects so that we can maintain the proper motion of one element relative to another.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Time_in_cinema\"><\/span>Time in cinema<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>We think of the cinema as the primary metaphor for working timelines and hierarchies in modeling. Chapter 16&nbsp;will give you a full understanding of the role this major kinetic art form plays for animators.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Time_manipulations\"><\/span>Time manipulations<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>We generate the visual language of cinema largely through manipulations of temporal patterns. Animators stretch, compress, reverse, and cut up the arrow of time as a way of telling a story. These time manipulations are so effective because they map quite keenly on our psychological perception of time. We recognize a second or a minute as an objective, measurable unit of time, but the minute you spend on a roller-coaster is not quite the same minute you spend waiting at the bus stop. Cinematic flash-backs and other non-linear storytelling devices seem to work much like the way the brain does when it conjures up memories or pictures in the mind&#8217;s eye.<\/p>\n\n\n\n<p>A technique known as <strong>time remapping<\/strong> is responsible for the familiar cinematic devices of time-lapse and slow-motion. Both devices reveal patterns that normal experience disguises, and both comport with psychological shifts in time perception based on the nature of our environmental input.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Compression\"><\/span>Compression<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p><strong>Slow-motion<\/strong> expands a time scale, remapping a shorter period so that it takes longer. Agent Smith in&nbsp;<em>The Matrix<\/em>&nbsp;can fire off three rounds from his semi-automatic pistol in less than a second, but remapping expands that into a dramatic 20-second display of Neo&#8217;s superhuman ability to dodge projectiles at &#8220;bullet time.&#8221;<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/WhxbYTMNMxo?si=VjM8F_Sga8KbsCOk\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Wachowski Brothers,&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Matrix\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Matrix<\/strong><\/a>, 1999. &#8220;Bullet time&#8221; sequence using digitally manipulated ultra-slow motion footage.&nbsp;<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Expansion\"><\/span>Expansion<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<div style=\"padding:56.25% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/19539428?h=5122745c2f&#038;title=0&#038;byline=0&#038;portrait=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\n\n\n<p><em>James Leng,&nbsp;<strong>Glowing Cities Under a Nighttime Sky<\/strong>, 2008.<\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p><strong>Time-lapse<\/strong> is the opposite kind of time scaling: it remaps a longer time frame into a shorter one. This can achieve effects from the quite comic to the quite sublime. A profoundly beautiful example is seen in James Leng&#8217;s chronicle of his flight.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>To achieve either of these effects in your Timeline, you need to do some arithmetic. Say you need to do a slo-mo manipulation of a man picking up a glass from a table; you observe such an action in real life and determine it takes 0.8 seconds to complete the action using the stopwatch on your mobile device. Assuming 30 frames per second (fps), how many frames would you need to expand the action into 12 seconds? Do the math: 0.8 seconds X 30 fps = 24 frames to complete the normal action. 12 seconds X 30 fps = 360 frames to expand the action. Therefore you&#8217;ll need to animate the action that normally takes 24 frames into 360 frames. <\/p>\n\n\n\n<p>But it gets even more complex than that \u2014 recognizing that the arm motion is not a uniform velocity (that is, it starts slow, speeds up, and slows down again as it approaches the glass), you&#8217;ll need to perform keyframing that captures the subtleties of acceleration and deceleration that might go unnoticed in the real-time situation. Fortunately, tools such as the <strong><em>Graph Editor<\/em><\/strong>&nbsp;in Maya allow you to perform time expansion\/contraction and slow-in\/slow-out functions with relative ease. In animation studios like Pixar, they shoot slo-mo footage of live events to observe and model acceleration and deceleration.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Reversal\"><\/span>Reversal<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Time reversal, like compression\/expansion, can reveal interesting patterns we don&#8217;t consider in everyday experience. David Macaulay, illustrator and author of <em><strong>The Way Things Work<\/strong><\/em>, created a compelling narrative that tells the story of how the Empire State Building was constructed, but it does so by carefully dismantling the structure. While in a post-911 world, <em><strong>Unbuilding<\/strong>&nbsp;<\/em>has a few unintended ominous overtones, it is a clever and poetic way of illustrating a process that might otherwise come off dry as toast.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1138\" height=\"1500\" data-attachment-id=\"8530\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/91ky1uvpzwl-_sl1500_\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/91kY1uVPzwL._SL1500_.jpg\" data-orig-size=\"1138,1500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"91kY1uVPzwL._SL1500_\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/91kY1uVPzwL._SL1500_-777x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/91kY1uVPzwL._SL1500_.jpg\" alt=\"\" class=\"wp-image-8530\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/91kY1uVPzwL._SL1500_.jpg 1138w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/91kY1uVPzwL._SL1500_-228x300.jpg 228w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/91kY1uVPzwL._SL1500_-777x1024.jpg 777w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/91kY1uVPzwL._SL1500_-768x1012.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/91kY1uVPzwL._SL1500_-300x395.jpg 300w\" sizes=\"auto, (max-width: 1138px) 100vw, 1138px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em>David Macauley,&nbsp;<\/em><a href=\"http:\/\/en.wikipedia.org\/wiki\/David_Macaulay\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Unbuilding<\/strong><\/a><em>, 1980<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>As a narrative arc in cinema, reverse time seems like it would be anti-climactic \u2014 the audience knows the outcome before the end, right? But one of the most daring suspense movies of all time used reversal as a major storytelling device.&nbsp;<em><a href=\"http:\/\/www.exclusivemedia.com\/films\/view\/filmid\/355\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Memento<\/strong><\/a><\/em>&nbsp;along a timeline diagram that the authors used to concoct one of the most original screenplay ideas in motion picture history. The movie has since become part of the film-school canon, used to help students understand the difference between plot order (<strong>sujet<\/strong>) and story order (<strong>fabula<\/strong>) in the development of a screenplay.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"1036\" data-attachment-id=\"8531\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/nolan_memento_poster_5328162721_o1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_poster_5328162721_o1.webp\" data-orig-size=\"700,1036\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"nolan_memento_poster_5328162721_o1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_poster_5328162721_o1-692x1024.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_poster_5328162721_o1.webp\" alt=\"\" class=\"wp-image-8531\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_poster_5328162721_o1.webp 700w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_poster_5328162721_o1-203x300.webp 203w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_poster_5328162721_o1-692x1024.webp 692w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_poster_5328162721_o1-300x444.webp 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em>Christopher Nolan,&nbsp;<\/em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Memento_%28film%29\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Memento<\/strong><\/a><em>, 2000<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1800\" height=\"1260\" data-attachment-id=\"8532\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/nolan_memento_timeline_5328774018_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_timeline_5328774018_o.png\" data-orig-size=\"1800,1260\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"nolan_memento_timeline_5328774018_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_timeline_5328774018_o-1024x717.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_timeline_5328774018_o.png\" alt=\"\" class=\"wp-image-8532\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_timeline_5328774018_o.png 1800w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_timeline_5328774018_o-300x210.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_timeline_5328774018_o-1024x717.png 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_timeline_5328774018_o-768x538.png 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/nolan_memento_timeline_5328774018_o-1536x1075.png 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><strong>Memento<\/strong><em>&nbsp;timeline<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"n-Narratives_time_and_interactivity\"><\/span><em>n<\/em>-Narratives: time and interactivity<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Gaming and interactivity, hyperlinking, and social networking have all contributed to the idea of simultaneity of narrative. That is, given a world, there are&nbsp;<strong><em>n<\/em>-number<\/strong> possible stories or outcomes that can occur within the confines of that world. <\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Web\"><\/span>The Web<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"500\" data-attachment-id=\"8534\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/weintraub_the_mirror_that_changes_5328773764_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/weintraub_the_mirror_that_changes_5328773764_o.jpg\" data-orig-size=\"1000,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"weintraub_the_mirror_that_changes_5328773764_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/weintraub_the_mirror_that_changes_5328773764_o.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/weintraub_the_mirror_that_changes_5328773764_o.jpg\" alt=\"\" class=\"wp-image-8534\" style=\"object-fit:cover\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/weintraub_the_mirror_that_changes_5328773764_o.jpg 1000w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/weintraub_the_mirror_that_changes_5328773764_o-300x150.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/weintraub_the_mirror_that_changes_5328773764_o-768x384.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"wp-element-caption\"><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em><em>Annette Weintraub,&nbsp;<\/em><a href=\"http:\/\/www.annetteweintraub.com\/internet.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Mirror That Changes<\/strong><\/a><em>, 2001<\/em>&nbsp;<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p>The Web has helped interactivity become a more common attribute of the art experience. Annette Weintraub developed an early example of a hypertext narrative whose arc is never the same from one viewer to the next. The spectator clicks on the images in <em><strong>The Mirror That Changes<\/strong><\/em>  to reveal words, images, and sounds in a non-linear way, totally dependent on the external choices the audience makes to activate the work. <a href=\"https:\/\/www.annetteweintraub.com\/mirror\/flashindex.html\">Visit the site here<\/a> \u2014 <strong><a href=\"https:\/\/ruffle.rs\/\">Ruffle<\/a><\/strong> plug-in required.<\/p>\n\n\n\n<p>Narrative now becomes part of the spectator&#8217;s job, the artist acting more like a Cage-ian scripter of potential action. Using modeling and interactivity, Rui Filipe Antunes has created a digital metaphor for evolution in <em><strong>xTNZ<\/strong><\/em>, a virtual world that is a parable for Eden, the corruption of environment by our presence, and the possibility of a post-human or other-than-human world.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/DFTdnbGNGVw?si=hk3dwo76-LlQlAhS\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Rui Filipe Antunes,&nbsp;<a href=\"http:\/\/rhizome.org\/artbase\/artwork\/46218\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>xTNZ<\/strong><\/a>, 1999<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Gaming\"><\/span>Gaming<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"197\" data-attachment-id=\"8536\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/smith_spore_5328163171_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/smith_spore_5328163171_o.png\" data-orig-size=\"1276,245\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"smith_spore_5328163171_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/smith_spore_5328163171_o-1024x197.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/smith_spore_5328163171_o-1024x197.png\" alt=\"\" class=\"wp-image-8536\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/smith_spore_5328163171_o-1024x197.png 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/smith_spore_5328163171_o-300x58.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/smith_spore_5328163171_o-768x147.png 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/smith_spore_5328163171_o.png 1276w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Will Wright, screen-captures from&nbsp;<\/em><a href=\"http:\/\/www.spore.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Spore<\/em><\/strong><\/a><em>, 2008<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p>Will Wright (the creator of classics like <em><strong>The Sims<\/strong><\/em>) developed <em><strong>Spore<\/strong><\/em>, another evolution metaphor, but this time taking on a universe, where gamers can interact with other gamers by bringing their created worlds together. As a game and online phenomenon, the Creature Creator has developed a following \u2014 so much so that Spore users have invented more species than occupy the Earth itself!<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Code_is_poetry\"><\/span>Code is poetry<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>We conclude our discussion of time and motion with the work of Marcus Wendt and Vera-Maria Glahn, who collectively go by the moniker <em><a href=\"https:\/\/field.io\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>FIELD<\/strong><\/a><\/em>. Visit their highly engaging website for a glimpse into their practice, which extends beyond the use of software to generate content into the generation of the software itself \u2014 a bit like Michelangelo creating his tools for sculpture. The philosophy of some digital artists asserts that the true nature of digital art practice exists in the writing of code, although this is a commitment that the more right-brained among us might resist. Do so at your peril \u2014 you don&#8217;t need to become a computer scientist, any more than a printmaker needs to become a chemist. But a printmaker wouldn&#8217;t get too far without a working knowledge of acid reactions.<\/p>\n\n\n\n<div style=\"padding:56.25% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/3407108?h=b2cd2ab86d&#038;color=ffffff&#038;title=0&#038;byline=0&#038;portrait=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\n\n\n<p><em>FIELD,&nbsp;<a href=\"http:\/\/rhizome.org\/editorial\/3901\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Interim Camp<\/strong><\/a>, 2008<\/em><\/p>\n<ol class=\"footnotes\"><li id=\"footnote_1_8444\" class=\"footnote\">Klee, Paul. Pedagogical Sketchbook. Praeger. 7th ed. 1972. p. 30.<span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_1_8444\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_2_8444\" class=\"footnote\">upton, Ellen and Cole, Jennifer. Graphic Design: The New Basics. Princeton Architectural Press. 2008. p.20.<span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_2_8444\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_3_8444\" class=\"footnote\">Andrew Stafford, &#8220;The Bride Stripped Bare by Her Bachelors, Even \u2014 also known as The Large Glass (1923),&#8221; http:\/\/www.understandingduchamp.com\/text.html<span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_3_8444\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><\/ol>","protected":false},"excerpt":{"rendered":"<p>18-minute read Change over time For thousands of years, artists have used all kinds of images and media to depict the fourth dimension: time.\u00a0In our upcoming readings on metaphors to cinema in Chapter 16, we will\u00a0encounter how prehistoric people portray motion in paintings and carvings of animals. Trajan&#8217;s Column in Rome contains a triumphal narrative&#8230; <a href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/\">read more &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8],"tags":[],"class_list":["post-8444","post","type-post","status-publish","format-standard","hentry","category-paralleluniverses"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>CHAPTER 6 \u2014 Visual Elements III: Kinematics - newMediaWiki<\/title>\n<meta name=\"description\" content=\"Chapter 6 Visual Elements III Kinematics: We explore the fourth dimension \u2014 time \u2014 as it relates to digital modeling practice.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-6-visual-elements-iii-kinematics\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CHAPTER 6 \u2014 Visual Elements III: Kinematics - 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