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MOVING IMAGE EVOLUTIVE PROJECT, Tempography
 
Anthony Bannwart’s video project reminds us the philosophical and technical start of cinema history. In a sense it makes us think with images being side by side and the photographic element being set into motion. An image goes into motion when it comes into contact with another image and this correspondence to a period of time. The appearance of these images belongs to emotions as visuals, and are events that cause a sudden outpouring of emotions. These have been presented in their realest form to be detected by the audience. This motion-image action that can be seen as a representation of what has occurred is also joined with emotion and perception. What is heard enables perception to take us gradually towards comprehension. In this video motion is not just mixing in with the venue that has been reached over time; motion is also revealed simultaneously when “the motionless interruptions of images” come side by side, because motion occurs in the “gap” between two motionless images. In this video the events are the images of an exercise that is conducted by adding incident to incident in separate and individual form: The qualitative period of motion. 

In 1907 Bergson talks about “cinematographic illusion” in his work titled “Creative Evolution”. He would leave his claim that cinema gives a false sense of movement to later. Tempographic Images is the “first” name Anthony Banwart gave it. Later on this project was titled “Moving Image Evolutive Project”.

Without even noticing television and cinema, elements that have entered every moment of our daily lives, and the arts have combined and intersected with the video art  taking at the forefront. Now we see that these individual and separate devices are now in contact with each other. Artist gives the moments that we encounter in daily life to us over time. Therefore if time passes by in a short unit of time, the thing that is the compacted version of these moments is motion itself. Motion is on its own and an incident occurs at that time. These moments are just made to be just like the classifications of Linneaus in the science of nature by the artist. The side by side images create this series. Passing from one series to another and these separate from each other individually the classification is realized in the same way. Motion as a physical reality and image as a psychic motion in the conscience are joined to each other. This process presents the evolution of the Artist’s project to us.

Ali Akay

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