Abstract
Before the Lumière brothers invented the cinematograph, a whole series of artefacts followed one another, the objective of which was to produce in the spectator the illusion of movement from the observation of a succession of still images. Today, after the emergence of new technologies and inspired by those inventions, a new typology of devices has emerged, the 3D zoetropes, which use three-dimensional objects to generate this illusion instead of using pictures. Although the first ones in which this procedure was used were born in the middle of the XIX century, practically in parallel to those that used illustrations or photographs, with the incorporation of techniques such as 3D scanning and 3D printing, they have acquired a new dimension, posing new challenges while generating new questions. In the following work we briefly analyse this trajectory to end up dealing with a work of own production, whose intention is to offer a critical perspective on our relationship both with technology and with the image nowadays, starting from the reflection on the own devices and processes involved in the construction of the artifact. The «frames» necessary to generate the animation have been obtained, in this case, reproducing in series a fragment of wood belonging to a type of tree, the black poplar pollard, whose peculiar morphology is the result of the combination of the characteristics of a plant species –populus nigra, and human manipulation for its use for various purposes. The result is a work that calls into question the long-held nature-culture dichotomy, as well as the existing antagonistic relationship between industrial production and craftwork, while dealing with notions such as representation, to find out what happened after its crisis as has arisen from very different perspectives.
Key words: Artes visuales, chopo cabecero, imagen-movimiento, impresión 3D, precinematografía, zoótropo
Full text [ES]: https://riunet.upv.es/handle/10251/129381 // https://doi.org/10.4995/ANIAV.2019.2019.9524
Citation
Cantarero Tomás, D. (2019). Redesign of a precinematographic artefact thanks to new technologies within the visual arts. Case study: 3D Zoetrope – Black poplar pollard. In IV Congreso Internacional de investigación en artes visuales: ANIAV 2019 Imagen [N] visible. Editorial Universitat Politècnica de València. 125-133. https://doi.org/10.4995/ANIAV.2019.2019.9524