Motion is an action which involves space and time and, strictly speaking, belongs to the fourth dimension- something that does not at first sight seem an appropriate category for the stationary world of two and three dimensional art. The ways that artists "capture" the fourth dimension was, and still is, the subject of much discussion. Motion and emotion both derive from the Italian word moto. Physical motions (walking people, galloping horses, postures, distortion, etc.) as well as mental emotions such as sadness, joy, love and anger. If emotions were depicted effectively through motion the viewer is "moved" by the artwork. MAREY, Etienne Jules Étienne-Jules Marey a French medical doctor, (1830-1904 who wanted to make the world visible, and measurable. He had several inventions with respect to circulation, electrocardiography, respiration, and muscle function. "In this method of photographic analysis the two elements of movement, time and space, cannot both be estimated in a perfect manner. Knowledge of positions the body occupies in space presumes that complete and distinct images are possessed; yet to have such images, a relatively long temporal interval must be had between two successive photographs. But it is his notion of time one desires to bring to perfection, the only way of doing so is to greatly augment the frequency of images, and this forces each of them to be reduced to lines." Étienne-Jules Marey, 1883 He was the inventor of the "chronophotograph" (1887) from which modern cinematography was developed. Some in fact see Marey, rather than the Lumière brothers, as the true father of cine photography. For those who think slow motion photography is relatively new, Marey also invented a slow motion camera in 1894, which took pictures at the rate of 700 per second! Marey recorded onto one photographic plate. Characteristic of his pictures were his studies of the human in motion, where the subjects wore black suits with metal strips or white lines, as they passed in front of the black backdrops. Marey’s early motion capture suit showing model as well as motion suit markers Correct exposure showing only the motion suit 'markers aviation website MUYBRIDGE, Eadweard b. 9 April 1830; d. 8 May 1904 Muybridge used many cameras to record onto many different plates to study motion. more Muybridge Photographs: 1 2 Edward James Muybridge was born in Kingston on Thames, England. In his early twenties he went to live in America, gaining a reputation for his landscape photographs of the American West. As he used the collodion process, like other travel photographers he would have needed to take with him all the sensitizing and processing equipment, as all three processes of sensitization, exposure and processing needed to be done while the plate was still wet. During the late sixties and early seventies he made some two thousand pictures, exposing negatives size 20x24 inch. Though he is not given due acclaim, many his landscape studies rank with the best. However, Muybridge's main claim to fame (apart from being tried and acquitted for the murder of his wife's lover!) was his exhaustive study of movement. Just about this same time the French physiologist Etienne Marey was studying animal movement, and his studies began to suggest that a horse's movements were very different from what one had imagined. One of the people who became aware of this research was Leland Stanford, a former governor of California, who owned a number of race horses. Stanford was determined to find the truth about this. It is said that he bet a friend that when a horse gallops, at a particular point all four feet are off the ground simultaneously. To prove his case he hired Muybridge to investigate whether the claim was true. By the 1870s lengthy exposures had been reduced to a minimum, and thus it became possible for photography to begin to extend one's vision of reality. It took a little time, however, for Muybridge to perfect a way of photographing which would supply the answer, for the collodion process was rather slow. Returning to his movement experiments, a few years later Muybridge was able to photograph a horse galloping, using twenty four cameras, each triggered off by the breaking of a trip-wire on the course. He not only proved Leland right, but also showed that, contrary to what painters had depicted, a horse's feet are not, as hitherto believed, outstretched, as if like a rocking- horse, but bunched together under the belly. This discovery caused considerable controversy, but eventually became more generally accepted. Muybridge's studies are very comprehensive, and include some detailed studies of men and women walking, running, jumping, and so on.

Modern Motion Capture: Motion Analysis Global Icons The AVA Project Ghostcatching Time, change and sequence - Egyptian art shows the passage of time by serializing the story in continuous sections - comic strip style- one on top of the other. see: http://www.shira.net/ancient-scenes.htm In medieval art a well known device of placing pictures next to one another - showing the before and after: Diptych (two panels) or triptych (three panels) were used where the story could be read in continuity: a sermon in pictures. Garden of Earthly Delights (opened and closed) by Hieronymus Bosch c1510-15 close up more details Seriality or making a work in several sections is an effective way of moving a story along. Roy Lichtenstein (b 1923) uses serials derived from comic books. Roy Lichtenstein http://www.artchive.com/artchive/L/lichtenstein.html#images more on Lichtenstein Continuous line is also a way to attract the viewer's eye - curved lines suggesting movement. (motion blur). Still images or drawings can be made to animate using registration of progressive imagery to create an illusion of movement. 12 basic principles of animation William Kentridge South African artist/animator Felix in Exile http://www.youtube.com/watch?v=vF5cngcXqSs Venice biennale http://www.youtube.com/watch?v=sOLPfMXFxTc Johannesburg http://www.youtube.com/watch?v=CXxCknnNPOI http://www.awn.com/mag/issue3.7/3.7pages/3.7moinskentridge.html Janet Cardiff The viewer can be stationary or moving physically amongst the artwork. (Janet Cardiff, mazes, etc.) Art in Technological Times:http://www.stretcher.org/archives/reviews/010101/010101.html see: still motion site IDimaging\movement.html