The cinematograph was presented for the first time on 28 December 1895. Early research was carried out by an eccentric personality, the photographer Antoine Lumière, who, with the help of his two sons, Auguste and Louis, perfected a technique of breaking down movement into a series of instantaneous photographs. The idea took the form of countless trials, up to the birth of a rudimentary cine-camera. The first demonstrations took place in private meetings, but the real challenge was attracting a vast paying public. Its success was almost immediate: the first spectators were dumbfounded, finding themselves confronted not by a theatrical performance, but by real life! A journalist of the time wrote: “When the use of this apparatus spreads among people and everyone is able to photograph their loved ones, no longer in a state of immobility but in movement, in action, in familiar gestures, speaking, then death will no longer be absolute.”
writing in Art Book: Cezanne
What kind of images of Vicki are possible?
There are motion pictures of Vicki playing a part.
There are motion pictures of Vicki being herself.
There are still photos of Vicki herself and in roles.
I could draw or paint Vicki, make images of her
in pencil or pen, watercolor or acrylic.
I could describe Vicki in words—a poem or story
or song, or a cycle of many chapters of each.
And there is multimedia—Vicki from many
different angles in many different effects.
A sculptor could make little plastic dolls of Vicki.
Vicki frowned. “I’ve seen all of them,” she said. “Is that it?”
“I could rearrange the stars,” I said, “and make a new
constellation, put Vicki in the sky forever.”
“That would be something to see,” she said, and smiled, then laughed.
It would be the best constellation: Vicki Laughing
I know some astrophysics. But I’ve got to learn more.
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Anna Kournikova’s Face
Jeanne Hébuterne — Art As A Grail
Moths, Scorpions And Unreal Women
Louis Lumière’s Beautiful Beast: A Puppet Show