Motion graphics was the last major aesthetic innovation of the nineteenth century to fully emerge during the twentieth. Converging in the final decades of the twentieth century, broadcast design, mobile graphics, the absolute film, titles, or even simply animation have all been used to identify what would become motion graphics. Any history of the field requires a consideration of how its aesthetics and the varied uses common to contemporary motion graphics first emerged from experiments with kinetic abstraction in the late nineteenth and early twentieth centuries. The nexus of abstract films synchronized geometries with live action outside the framework of narrative, the conventions of synchronized sound and image, and finally the development of kinetic typography shows that motion graphics are more than animated graphic designs.
2.5 min
Designed by Rey Parla and Michael Betancourt
This movie was produced as a collaboration between the scratch film maker Rey Parla and digital movie maker Michael Betancourt. It developed from several years of discussions about collaborating on a project, and finally began when Parla sent a drive with material to Betancourt in the summer of 2011, which he then combined with some of his own material. The finished movie is a dialogue between their approaches and techniques, combining scratch, glitch, analog processing and digital compositing to create a hybrid.
I have a sticker in this show curated by Paul Weston and DB Burkeman for Art Basel Miami Beach this year. They selected 75 artists from around the globe to create an intimate, (same size), black and white sticker.
I am planning to be at this show. The description is exciting: Camera-less works, glitch animation, 16mm film lit by fireflies, static datamoshing, archival collage, excel animation, and hand-painted films made by leading fine-art filmmakers working within the region and the globe.
