How to keep track of the movement of a programmed work, real or virtual that it may be? This essay highlights the difficulties that kinetics artists had to face for the mediation of their kinetic or optical-dynamicobjects, especially at the beginning of their experimental research. Going through some of the Gruppo Nexperiences with a new and inedited point of view, this paper intends to identify the link established bythose artists with the audiovisual media. This exchange, little investigated so far, comes out from the needto get past the limits of the photographic media, which didn’t fit with the adequate reading of their works.
Is it Moving? Arte Programmata sullo schermo
Marta Previti
2024
Abstract
How to keep track of the movement of a programmed work, real or virtual that it may be? This essay highlights the difficulties that kinetics artists had to face for the mediation of their kinetic or optical-dynamicobjects, especially at the beginning of their experimental research. Going through some of the Gruppo Nexperiences with a new and inedited point of view, this paper intends to identify the link established bythose artists with the audiovisual media. This exchange, little investigated so far, comes out from the needto get past the limits of the photographic media, which didn’t fit with the adequate reading of their works.
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