Show simple item record

dc.contributor.authorChau, Christina
dc.date.accessioned2017-01-30T13:07:34Z
dc.date.available2017-01-30T13:07:34Z
dc.date.created2016-01-21T20:00:19Z
dc.date.issued2013
dc.identifier.citationChau, C. 2013. Building New Perceptions of Duration through László Moholy-Nagy’s “Light Space Modulator”. The International Journal of Arts Theory and History. 7 (3): pp. 19-25.
dc.identifier.urihttp://hdl.handle.net/20.500.11937/28818
dc.description.abstract

This paper focuses on Henri Bergson’s approach to Western modes of representing movement in relation to his concept of duration (la dueé). Bergson argued that mechanised representations of movement distort and simplify the integrity of how subjective time is experienced as a continuous duration. By contrast, film photography and painting predominantly isolate instances of time, provide a snapshot of movement and create discontinuous representations of an inherently continuous process. Through Bergson’s perspective of duration, my paper draws from László Moholy-Nagy’s kinetic artwork, the “Light Space Modulator” (1922–1930) to demonstrate that mechanical presentation and representation of movement complicates Bergson’s three theses of movement. I argue that Moholy-Nagy explores mediated motion to create new rhythms of duration and perceptions of the relationship between time and space.

dc.publisherCG Publisher
dc.titleBuilding New Perceptions of Duration through László Moholy-Nagy’s “Light Space Modulator”
dc.typeJournal Article
dcterms.source.volume7
dcterms.source.number3
dcterms.source.startPage19
dcterms.source.endPage25
dcterms.source.titleThe International Journal of Arts Theory and History
curtin.departmentDepartment of Communication and Cultural Studies
curtin.accessStatusFulltext not available


Files in this item

FilesSizeFormatView

There are no files associated with this item.

This item appears in the following Collection(s)

Show simple item record