Assonanze ritmiche tra movimento grafico e segno digitale

Risultato della ricerca: Other

Abstract

The combination of several letters builds new words, meanings and concepts. When these letters are associated with the idea of the sound, you draw the shape of the objects. Schopenhauer founded his theory of colors on the bifurcation of the retina activity, comparing it to the music scale, because the colors were placed according to harmonic ratios. Pierre Boulez, starting from the work of Paul Klee and the Bauhaus lessons, develops a reflection on the distribution and rhythm of music space; indeed, in the series of engravings or paintings like “The town”, symmetry, more than a cityscape, he evokes a bar music with lines drawn from the notes distributed below and above. Through the energy generated by kinetic action of the Optical Art the integrity of objects intermittently disappears to make the impression of motion. The visual revolution operated by William Forsythe takes place not so much through the development of a specific morphology of body expression but by the effects of light and those ones of visual illusions programmed by a software, placing a graphical relationship between the dancing body and space that is drawn. Objective of the article is to read, into the pictorial space, rhythm and movement through graphic interpretation of harmonic correspondences that exist between the kinetic action of the sign and the new digital interpretations of movement in space. Visual construction that does not stem from the interdependence of form and color, but from weight, speed and direction of movement. The correspondences between the tonal two-dimensionality of the rhythm and the digital three-dimensions define a fourth dimension, where you can find the probable instant observation inaccuracy and falsehood that draw our eyes as to observe is the action that is transformed in the imagination of what you want to see.
Lingua originaleItalian
Pagine5-14
Numero di pagine10
Stato di pubblicazionePublished - 2015

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