SYMPOSIA

The 'handling' of non-moving and moving images has been fundamentally reshaped over the last decade by digital devices. On the one hand, we are now able to record and play back both non-moving and moving images on our iPhone, tablet, computer, photo or video camera. On the other hand, we no longer regard the photo as an enlargement, but rather as something at hand presented in a device. With a tablet, we are able to hold in our hands moving images that were once un-touchable. Our relationship with moving and non-moving images is being fundamentally altered by mobile recording and playback technologies. With them also permitting us to immediately observe, process and forward or broadcast the material being record. The merging of the image producing devices, which call for a conscious decision whether to shoot photos or film, are evidently having a clear impact on today's artistic work.

Photo film animators already consider in advance which meaning the movement of the film images will make as they seek out and discover the sense in motion. The fact that the illusion of movement arises in the viewer's mind and not in the external reality is absolutely fundamental to cinematic perception. No initiating movement exists in animated film; animators assemble individual snapshots and arrange them lengthwise in a sense of becoming which utilizes a device of recognition in such a way that they continuously present what kind of movement should arise in the heads of the viewers. Rather than reproducing the illusion of movement, movement itself is created and produced.