A Cinema of Movement
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Abstract
In this article, I consider some of the aesthetic and temporal forces that give us the opportunity to rethink the relationship between movement and perception in cinema and new media practice. Following Bergson and Deleuze, I offer an idea of the moving image that considers how we can move with the image’s movement. Through a discussion of my own media arts practice, I suggest a new approach to the creation of images that create movement, one where we feel rather than see imperceptibility. Considered in relation to other artistic and scientific deployments of imperceptibility revealed in the use of slow motion in contemporary moving images, this “feeling” of movement summons a kind of time that is neither atemporal nor a subdivision of time but rather a time of moving with images.
Contributor Notes
Michele Barker is an established media artist and academic. She collaborates regularly with Anna Munster, developing projects that integrate a vast range of platforms, media, and technologies with a strong focus on experimental cinema and responsive media environments as a way of exploring perception, embodiment, and movement. Her work has been included in Vidarte, the Mexican Biennale of Video Art; The Museum of Contemporary Art (MOCA) Taipei; The Photographer’s Gallery, London; FILE Festival, Sao Paolo; Museum of Art, Seoul; and the Art Gallery of New South Wales. Recent works include: évasion, an eight-channel responsive installation working across dance, performance, and the moving image; and the multichannel interactive work HokusPokus, which explores the relations between perception, magic, and early moving image technologies and techniques. Email: m.barker@unsw.edu.au