contents : abstract : motion studies essay : appendix : bibliography : motion studies project

Digitalisation has fundamentally altered the way we look and are looked at - we enter a third space - translucent, screened, scanned.

(Brown, 2002, p.6)

...much of the fascination of the earliest Lumiere screenings was generated by beginning with a projected still photograph (a form of representation thoroughly familiar to the spectator) and subsequently propelling it into movement so that the temporal work of the apparatus could be displayed as a spectacle in its own right.

(Doane, 2002, p.24)

The reconstruction of a ‘naturalized’ movement is a laborious process...Much recent avant-garde work in film, and, now, digital media no longer takes this reconstruction for granted but instead works to defamiliarize this motion and time, in short, to bare the device.

(Doane, 2002, p.213)

There are wonderful inner things hidden within dancing.

(Forsythe, 1999, p.22)

The purpose of improvisation is to defeat choreography, to get back to what is primarily dancing.

(Forsythe, 1999, p.24)

The frontiers of a book are never clear-cut; beyond the title, the first lines, and the last full stop, beyond its internal configuration and its autonomous, it is caught up in a system of references to other books, other texts, other sentences: it is a node within a network.

(Foucault, 1969, p.25/26)

By the late 20th century, we are all chimeras, mythic hybrids of machine and organism, in short, cyborgs.

(Haraway, 1983, p.1 Internet 6)

I would rather be a cyborg than a goddess.

(Haraway, 1983, p.13 Internet 6)

...perhaps the most familiar role within which we experienced and reexperienced being a body is what I have often called an embodiment relation, that is, the relation of experiencing something in the world through an artifact, a technology.

(Ihde, 2002, p.xi)

In my work for both stage and film, I see myself responsible for the vision and the concept of a piece as well as for the ‘steps’........My perception is that the rest of the world does not see the choreographer as a thinker and conjuror as much as a step-maker. I hope that my work will join the work of other choreographers to change that perception.

(Marks in Mitoma, 2002, p.210)

...one of the most basic principles and most common paradigms of the digital medium (is) the concept of random access as a basis for processing and assembling information.

(Christiane Paul, 2003, p.15)

...computers breed what have come to be called ‘hypermedia’, which reside in a paradoxical virtual reality where all properties exist as numbers. Hypermedia ...transcend their forebears in ways that give them an almost preternatural pliability involving magical metamorphoses and effortless interconnectivity, and making them capable of introducing radically new art forms.

(Popper, 1993, p.121)

With the railroad, human beings had begun to move faster than nature. With the telegraph, they communicated faster. With photography, they would come to see faster, to see what had been hidden in time.

(Solnit, 2003, p.82/83)

...it didn’t begin as heroines, as fictions, as cinema. It began as photographs of horses in motion.

(Solnit, 2003, p.182)

Muybridge’s motion studies are like an early life form from which wildly divergent species descend. The motion picture is the most linear of these descendants, or looks that way in retrospect...

(Solnit, 2003, p.211)