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Only Distraction? From the development of forms of technical reproduction of art, one can better understand how the relationship between the work and the public have also changed. Works of art do not do more to contemplation pure and abstract thought as in the traditional view and academic. It seems that the public is much more interested now in fun. But is that art is then reduced to pure fun, with no other greater importance or function? When you go to the cinema, the theater, the show, you do it for fun? Only distraction or forgetfulness of everyday concerns? What moves us to attend, consume or create art? In the case of film, for example, even though the film is only a fantasy or an illusion, yet it is worth paying the ticket? It is known that there is no motion in the movie. The movement is an illusion created by the rapid sequence of images placed in order. In addition to this illusion of motion illusion effect is the scene actually occur together and that produce the sense of the film as a whole. The descriptions of the first film screenings in the Salon Indien of the Grand Café in Paris by the Lumière brothers, realize the wonder and terror that viewers felt when they watched the image of a train coming towards you. It is said that some have to jump from their seats and run to the back of the room. This is comparable to the amazement all astonishment that anyone has with a technological breakthrough, but in this case, there is one more detail: the amazement turned to terror. The image seemed alive, real, even though she was an illusion. After all, Lumiére previously exposed images without motion. Only later, that machine starts giving life to train. This doubt, or "middle course" is that fascinates the viewer. It is known that everything is an illusion, but it is believed this illusion for a few moments. An illusion that leaves the viewer stunned, thrilled, moved and refers to the dimensions of different times and spaces of everyday, the commonplace. From this fascination and charm that the film provides one might think that conditions in this experiment clarifies this new way of seeing the world, to represent it and perceive it. This illusion, this Cinematographer. Device developed by brothers August and Louis Lumière, from the Kinetoscope, created by Thomas Edison, who has some projected motion pictures in 1890. "Arrival of the Train at Ciotat Station". Brother Lumière. December, 1895, Paris.
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Samo Bijeg? Od razvoja oblika tehničke reprodukcije umjetnosti, jedan je bolje razumjeti kako je odnos između rada i javnost su se promijenili. Radovi ne učiniti više kako bi čiste kontemplacije i apstraktne misli kao u tradicionalnom prikazu i akademske. Čini se da je javnost puno više zainteresirani sada na zabavu. No, je li to umjetnost onda je sveden na čistu zabavu, bez druge veće važnosti ili funkciju? Kad idete u kino, kazalište, izložbe, možete to učiniti za zabavu? Samo odvlačenje pažnje ili zaboravljanje svakodnevnih briga? Ono što nas pokreće da prisustvuju, konzumirati ili stvoriti umjetnost? U slučaju filma, na primjer, iako je film samo fantazija ili iluzija, ali to je vrijedno plaćati ulaznicu? Poznato je da nema kretanja u filmu. Pokret je iluzija po brzom slijedu slika smještenih u redu. Osim ove iluzije pokreta iluzija učinak je scena zapravo dogoditi i da zajedno proizvesti osjećaj filma kao cjeline. Opisi prvih filmskih projekcija u salonu indien u Grand Café u Parizu od strane braće Lumiere, ostvariti čudo i teror da gledatelji osjećali kad su gledali snimku vlak dolazi prema vama. On je rekao da neki imaju skočiti iz svojih mjesta i pokrenuti na stražnjoj sobi. To se može usporediti s čuđenjem sve čuđenje da netko ima s tehnološkog napretka, ali u ovom slučaju, postoji još jedan detalj: zadivljenost pretvorio u užas. Slika činilo živa, stvarna, iako je bila iluzija. Uostalom, Lumiere prethodno izložene slike bez pokreta. Tek kasnije, taj stroj počinje dajući život trenirati. Ova sumnja, ili "srednji pravac" je da fascinira gledatelja. Poznato je da je sve iluzija, ali vjeruje se ta iluzija za nekoliko trenutaka. Iluzija da ostavlja gledatelju zapanjilo, oduševljena, a odnosi se preselio na dimenzije različitim vremenima i prostorima svakodnevice, banalnim. Od ove fascinacije i šarmom koji film pruža moglo bi se pomisliti da su uvjeti u ovom eksperimentu pojašnjava ovaj novi način gledanja na svijet, da ga zastupa, a to doživljavaju. Ova iluzija, ovaj Snimatelj. Uređaj razvijen od strane braće kolovozu i Louis Lumière, od Kinetoscope, izrađen od strane Thomasa Edisona, koji ima neke projekciju filmova u 1890. "Dolazak vlaka na kolodvor Ciotat". Brat Lumière. Prosinac, 1895, Paris.