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Motion Perception in Movies and Painting: Towards a New Kinetic Art

Julian Hochberg and Virginia Brooks argue in "Movies in the Mind's Eye" that the apparent movement of motion pictures should be understood as a mental process described by cognitive theory and gestalt psychology. This argument is a reconfiguration of the traditional, physiological model that makes the motion an effect of ocular physiology. In place of this model, they propose that the movement we see when watching a movie -whether in the form of a film or a video tape -is more than simply the illusion of motion: it is perceptually as real as any other visual motion we perceive. The difference between this motion and other motion resides in its empirical status independent of observation, not in our subjective perception. Their transformation of the conceptualization of "motion pictures" has implications for our understanding of motion in painting. So-called "painterly motion" is historically one of the most important effects employed in old master paintings (and developed in the Modernist period by Cubism and some of its derivatives). Hochberg and Brook's theory about a cognitive basis for film motion is applicable to any form of virtual movement. It provides an account of why we can see "painterly motion." This theory implies a connection between painterly motion and movies that has implications for understanding "avant-garde" film and video. It also suggests a type of kinetic art heretofore unknown.