Static Motion

artwork inspiration: @angeldraws

FOREWORD

UNDERSTANDING SEQUENCE-IMAGES

The article introduces a new type of image called as sequence image which is a hybrid between still and moving images. The author states his concern in grouping these hybrid images into either still or moving since they do not fall into a single category; but are both at the same time. The author also highlights the hesitation of the society to accept this grouping and explains why his argument is accurate by giving examples.

While the above article was written in 2011, it uses cases from the 1970s as examples. The instances of protests and war in the 1970s mirror those that occurred when Jens Schröter wrote the article in 2011. Americans had started protesting against the ongoing Vietnam War in the early 1970s. Similar protests happened during the 2000s against the war in Iraq. United States finally withdrew their troops from Iraq in the December of 2011. The Gay Liberation Movement gained momentum in the 1970s which led the American Psychiatric Association to finally remove homosexuality from its psychiatric disorder list in 1973. The increasing acceptance thus helped revoke the “Don’t ask, Don’t Tell” policy that banned open homosexuality in the US armed forces in 2011. Sensuality and sexuality became common topics in fashion, movies, rock music, and popular novels. Their influence along with instances of LGBTQ can be clearly spotted in Umberto Eco’s example of hologram that is explained in this article.

Author Jens Schröter has written this article for a journal called History of Photography, an international quarterly journal which covers the history, practice and theory of photography in artistic, scientific, commercial, and domestic aspects. Published in volume 35, the author discusses multiplex holography as a hybrid form of photography. In the article, the author talks about a term called sequenceimages and gives some real-life examples to better explain the concept.

Sequence-images are a hybrid between moving and still images. What makes them unique is the fact that their motion is based on the viewer’s bodily movements. The image appears to move when the observer moves and stops when the observer stops. The movement is in the form of a short sequence, so they are accurately named as sequence-images. They have three types: flipbooks, lenticular images, and multiplex holograms.

In a flipbook, the viewer has to manually flip the pages rapidly in order to see the visuals move. Without turning the pages, the entire book is a collection of still images. But when the viewer flips the pages, the scenes move depending on the speed of the flipping pages.

A lenticular image needs to be viewed at different angles to enjoy all the scenes displayed in it. It uses different style of printing to achieve this effect. Depending on the type, the viewer either has to move from side to side or up and down to view the scenes present in a single image.

A multiplex hologram is a type of hologram that combines 2D photography or cinematography with horizontal parallax and holographic printing. These holograms appear to float in cylinders and move when the viewers move around them. These objects have the ability to move in a 360-degree angle depending upon the viewer’s movement.

From this explanation, it is evident that in all the examples, the motion is related to the viewer’s bodily movements. The motion is always there but it just needs to be activated by the viewer. Until the viewers are still, the images appear still; when the viewers start moving, the images change accordingly. This leads us to the first argument stated in the paper that classifying the images as either still or moving is technically wrong as they fall under both categories at the same time. Schröter’s concern in grouping still images in photography and moving images in films is extremely valid. He explains that since there is a clear divide among the two groups, it seems as if there is no third possibility. A convergence of both seems to be possible only when mixed media are used in a single project. But as discussed, the sequence-images are a perfect amalgamation of both at the same time*.

The author has emphasized the inability of the images to fit under one particular category and the opposition it faces which leads us to our second finding. He mentions how difficult it is for society to accept the possibility that something can be two things at the same time. Still images have been compared with thereal-that-has-been or death and moving images with life. This comparison of life versus death highlights the comparison, since a living thing cannot be alive and dead at the same time, an image cannot be still and moving at the same time.

This makes the readers think about how difficult it is for people to accept concepts that do not fit the standard norms of society. It is interesting to see how examples from the field of design and technology are brought in to prove this point. This shows that social constraints are predominant in all fields and aspects of life. The reason why the comparison with life and death was an interesting approach is because this thought process is related to the subconscious feelings seen in human behavior. It illustrates the need for humans to categorize things into clearly demarcated groups. The categorization happens on a subconscious level to help the brain process information clearly and aid reaction to the information that we are absorbing. Gestalt theory is basically our brain’s way of making the world simpler to understand. But slowly and steadily as acceptance for new ideas has grown these beliefs have been challenged, and sequenceimages gradually made their way into the society through interactive toys, informative advertisements, entertainment industry and also through day-to-day objects like credit cards and stamps.

So, to summarize, the three types of sequence-images: flipbooks, lenticular images, and multiplex holograms are produced using a combination of techniques related to printing, binding, photography, or videography. These images are of a dual nature. That is, they are still and moving at the same time. Their motion is always there but it just needs to be activated by the viewer’s movements. This futuristic and almost surreal characteristic has helped them earn their own hybrid category since it was almost impossible to place them in any of the existing ones. This dual characteristic also led to discussions about things that are ‘in-between’.

Thus, the inconceivable and almost surreal nature of multiplex images that did not fit into the traditional still or moving category of images made society wonder about and accept alternate possibilities of reality. People incorporated and even applauded the invention and use of these visuals despite the fact that do not fit into fixed categories.

STATIC MOTION is a collection of sequence-images that change their state from still to moving depending on the viewer’s bodily movements. Origins of some of the showcased pieces can be traced back to the 1800s. All these artifacts are considered to be revolutionary and groundbreaking in the field of motion pictures and animations. They are relevant even today and still make appearances in upgraded forms. The way inventors and artists were able to depict stories through these artifacts by creating motion using such limited resources is truly remarkable.

Phantasmagoria Magic Lantern

Probably the earliest ever device produced for viewing image sequences, the Phantasmagoria magic lantern (c. 1820) was an integral part of the Victorian society’s amusement and entertainment. The images projected by the lantern appeared in the same place and therefore gave an illusion of the images dissolving into one another, creating a dream-like or phantasmagoric image sequence.These projections were usually done on walls or gauze screens in very dimly lit rooms. They were accompanied by haunting sounds making it a ghoulish yet popular experience.1,2

This particular Ceramic Magic Lantern was designed by Johann Falk in 1895. These devices were popular because people got to experience these ghostly motion pictures at a time when ‘motion pictures’ did not yet exist. Seeing image sequences and hearing sounds corresponding to them was a mysterious phenomenon.

A CERAMIC LANTERN BY JOHANN FALK, 1895

A PICTURE DEPICTING THE PHANTASMAGORIA MAGIC LANTERN PERFORMANCE SHOWING DEMONS, SKULLS, AND OTHER HORROR ELEMENTS.

The Phenakistoscope

The Phenakistoscope was invented by Joseph Platea, a Belgian physicist, and Simon Stampfer, an Austrian inventor in 1833.

It was considered the first device used for animation. It consisted of a disk with a series of images, drawn around the center. There were tiny slits cut out just above the drawings. The animation was visible through the slits when the disk spun in front of the mirror.3

A PHENAKISTOSCOPE BY SIMON STAMPFE, 1833

The Praxinoscope

Taking inspiration from these objects, more such artifacts were produced. Praxinoscope was another example of a hand-operated animation device.

Created in 1876 by Charles-Émile Reynaud, the Praxinoscope was a modification of the zoetrope. It used the same mechanism as the zoetrope, but instead of the slits, mirrors were placed inside the drum to reflect the animation. The original piece came with a variety of different animation sequences for the viewer to see. These made great optical toys and gifts because of their fascinating technology.

The Zoetrope

The Modern Zoetrope was created by William George Horner in 1834. The name zoetrope came from the Greek words zoe (life) and tropos (turning) which meant ‘wheel of life’. The device had a revolving drum with viewing slits placed between the pictures. The later versions had slits placed above the pictures.4

A ZOETROPE BY GEORGE HORNER, 1834

A PRAXINOSCOPE BY CHARLES-ÉMILE REYNAUD, 1876

MOTION

The Flipbook

A flipbook is another example of a sequence image. The importance of this experiment is that it captured what the naked eye couldn’t. It is considered a major breakthrough in the fields of art and photography. All the paintings with galloping horses before this time were based on speculation. There is a visible shift seen in the position of the horse legs in paintings done before and after this experiment.

The interesting thing about the series is that it can only be enjoyed if seen in motion like in a flipbook or in a zoopraxiscope. Individually, the galloping horse images do not make so much sense but when they are viewed in succession, it creates an animation that explains the concept of animal locomotion.

A FLIPBOOK MADE BY V 1887.

VARIOUS STAGES OF THE GALLOPING HORSE THAT ARE FEATURED INSIDE THE FLIPBOOK

The Filoscope

An upgrade to the traditional flipbook was a Filoscope created by Henry W Short in 1897. It was a small hand-held flipbook that had a lever to flip pictures to create an illusion of movement.7 Each filoscope housed almost a hundred frames of one sequence to produce seamless short animations.

A FILOSCOPE BY HENRY W SHORT, 1897

A POP-UP BOOK BY MATTHEW REINHART, 2018

The Pop-up Book

Another tactile object in the collection is a Popup book created and selfpublished by Andy Warhol in 1967. The book featured various tear-out and tactile popup elements like the iconic tomato paste can placed on a spread that contained a photo and a negative of a glamorous woman.

The irony behind this spread is that the image of the woman provides and elegant and chic feel while the tomato paste popup is one of the most accessible and affordable commodities. Here, the motion in the popup cut-out is activated when the viewer opens the page.

As time progressed, additions were made to the existing technology to improve the viewing experience of these sequence images. The transitions became more and more seamless, and the interaction needed to view the animations became more minimal. But the concept of ‘still yet moving’ remained constant.

A POP-UP BOOK BY ANDY WARHOL, 1967

The Hologram

In the 1970s, remarkable progress was made in the field of motion images. The concept of Holography was invented by a British scientist Dennis Gabor in 1947.8 The hologram showcased here was created by Salvador Dali in 1973. This was the first 3D hologram that was ever created. Being the king of surrealism, this multiplex hologram is nothing short of surrealistic. It stays still if the viewer is still and has the capacity to revolve in a 360-degree angle based on the viewer’s movement thus being true to its ‘still-yet-moving’ attribute. The art piece was revolutionary for its time then and still remains to be futuristic as an art form. Holograms are often shown in futuristic cinema scenes even today due to their surreal nature.

THE CYLINDRICAL STRUCTURE OF THE 3D HOLOGRAM ‘ALICE COOPER’S BRAIN’ BY SALVADOR DALI, 1973.

ROCKSTAR ALICE COOPER IN THE 3D HOLOGRAM

Surrealism is DESTRUCTIVE, but it destroys only what it considers to be SHACKLES limiting our vision.

- Salvador Dali

The CineSpinner

In the year 1999, Rufus Butler Seder invented a small and inexpensive souvenir called the CineSpinner. It was made out of a clear acrylic disk that was printed on both sides in black ink. When it was hung at eye level against a white wall or diffused light, the images appeared to be in motion when rotated.9 This was the first device that had no moving parts but created motion due to the position of lines printed on it. Until it is rotating, the images appear to be moving but once it comes to a standstill, the images appear stationary.

THE CINESPINNER BY RUFUS BUTLER SEDER, 1999

Lifetiles

Another art piece by Rufus Butler Seder created in 2015 called “River of Time” was an installation that he calls Lifetiles. They consist of a collage of photos depicting the history of Marysville.9 The arrangement of photos on the special tiles creates movement in the collage and thus shows the viewer an entire scene. This particular lifetile shows the animation of cowboys and their galloping horses. This is thus another example of an image sequence that remains still and in motion depending upon the viewer’s movement.

LIFETILES ‘RIVER OF TIME’ BY RUFUS BUTLER SEDER, 2015

The Masstransiscope

Masstransiscope was an art installation created by Bill Brand in the NYC subway tunnel in 1980. This was a modern interpretation of the zoetrope. It consisted of a 300-foot-long painting made on reflective material inside the tunnel. The motion in the pictures is activated by the movement of the train and the riders inside can see the animation in action. The animation is to be seen through the slits that are installed in front of the artwork. The special enclosure consists of 228 narrow slits between the painting and the train. The installation is illuminated by fluorescent lights which reflect off the painting and bounce back through the slits thus creating the animation. 10

THE MASSTRANSISCOPE BY BILL BRAND, 1980

A SKETCH OF THE MASSTRANSISCOPE BY BILL BRAND.

Lenticular Poster

This child abuse awareness advertisement by ANAR Foundation (2013) uses a Lenticular Poster to show 2 different stages of the same image of a child to create awareness. The thought behind it was that children will view this from a lower angle so would be able to see the bruised face of the child while the accompanying adult would only be able to see a normal face of the child in the poster. The image changes according to the up and down movement of the viewer thus creating a sequence.

Lenticular Fabric

Using the same lenticular printing principle, textile designer Antoine Peters created a lenticular fabric featuring different cubism-inspired designs on each side of the fabric. The print changes depending upon the viewer’s angle. In the day when fast fashion is on the rise and people want new things daily, this changing fabric appealed to a wide audience. The two patterns that are visible alternatingly are very different from one another. The design includes playful juxtapositions and simple animations.11

A LENTICULAR FABRIC BY ANTOINE PETERS, 2013

ANIMATION

- Chuck Jones

Strobe Animation

Strobe Animation was created by artist Gregory Barsamian in 2002. This installation consisted of a huge cylinder with sculptures placed around it that created an illusion of motion when they were rotated and lit with a strobe light. For the motion effect, a completely dark room is essential. The strobe light thrown on the cylinder highlights just the necessary parts of the installation and creates a seamless animation. When still, various parts of the installation along with the cylinder skeleton are visible, but once in motion, only the animation can be seen.

THE STROBE ANIMATION SETUP BY GREGORY BARSAMIAN, 2002

3D Billboard

The latest technology to show motion was used by Nike in their 2022 ad campaign in Tokyo. Kota Iguchi, the founder of the creative agency CEKAI was the mastermind behind this 3D Billboard.12 The technology used in the curved billboard created an illusion of the Nike Air Max shoe popping out of the billboard and floating in thin air. This illusion was only possible due to the position and angle of the billboard and the graphics displayed on it.

THE 3D BILLBOARD ADVERTISEMENT FOR NIKE, 2022

The artifacts in the 1800s and 1900s seem quite simple today. But the advancement in the field of animation and motion pictures that we see today is because of those revolutionary inventions. It is said that history repeats itself. We can see these small looping animations making a comeback today in the form of GIFs. It is as if the field of animation has come full circle.

References

1Magazine, Smithsonian. “Before There Was Streaming, the Victorians Had ‘Magic Lanterns.’” Smithsonian.com, Smithsonian Institution, 14 Sept. 2018, https://www.smithsonianmag.com/smart-news/victorian-magic-lanterns-were-19thcentury-version-netflix-180970286/.

2Meier, Allison C. “The Magic Lantern Shows That Influenced Modern Horror.” The Magic Lantern Shows That Influenced Modern Horror, 12 May 2018, https://daily.jstor.org/the-magic-lantern-shows-that-influenced-modern-horror/.

3“Phenakistoscope - Station for Animation.” Google Sites: Sign-In, https://sites.google.com/site/stationforanimation/history/phenakistoscope.

4Zoetrope Animation Explained | Adobe. https://www.adobe.com/creativecloud/animation/discover/zoetrope-animation.html.

5Whitmire, Vi. “Eadweard Muybridge.” International Photography Hall of Fame, 14 Aug. 2016, https://iphf.org/inductees/eadweard-muybridge/.

6Shah, Haleema. “How a 19th-Century Photographer Made the First ‘Gif’ of a Galloping Horse.” Smithsonian.com, Smithsonian Institution, 13 Dec. 2018, https://www.smithsonianmag.com/smithsonian-institution/how-19th-centuryphotographer-first-gif-galloping-horse-180970990/.

7“Short’s ‘Filoscope’ Flip Book ‘the Train’: Science Museum Group Collection.” Short’s ‘Filoscope’ Flip Book ‘The Train’ | Science Museum Group, https://collection.sciencemuseumgroup.org.uk/objects/co8056073/shortsfiloscope-flip-book-the-train-filoscopes-flip-books.

8Sergey, Zharkiy. “History of Holography.” History of the Holography, http://www. holography.ru/histeng.htm.

9Herbert, Stephen. “The Optically Animated Artwork of Rufus Butler SederRufuslifetiles.com.” The Optically Animated Artwork of Rufus Butler Seder, http:// www.rufuslifetiles.com/TheOpticallyAnimatedArtworkofRufusButlerSeder.pdf.

10Hausman, Heather. “Masstransiscope.” Atlas Obscura, Atlas Obscura, 1 Jan. 2007, https://www.atlasobscura.com/places/masstransiscope.

11Jackson, Rory. “Changing Perceptions - Superyachtnews.” Superyacht News, 26 Feb. 2016, https://www.superyachtnews.com/fleet/changing-perceptions.

12Corr on Mar 24 2022 - 12:20pm twitter facebook , Amy. “The Story behind Nike’s Amazing 3-D Air Max Billboard in Japan.” Muse by Clio, 24 Mar. 2022, https://musebycl.io/sports/story-behind-nikes-amazing-3-d-air-max-billboard-japan.

*Schröter, Jens. “Technologies beyond the Still and the Moving Image: The Case of the Multiplex Hologram.” History of Photography, vol. 35, no. 1, 2011, pp. 23–32, https://doi.org/10.1080/03087298.2010.496204.