Singapore Art Sandbox I

June Yap page 109 SENI 2004 booklet: A quick search of art exhibitions with titles containing the phrase ‘ moving pictures’ brings to light an exhibition of photography, film and video, and exhibito nf of mixed media works inspired by dance and moving epxeriences, a biennale exhibition focusing on film, art, and culturala spectatorship. The notion behind the motion seems to be the act of perception fof movement. This familiar term, ‘moving pictures’ has been used to describe a medium where movement and activity are defined as fundamental, as if oft references in film theory, citing english phiysician peter mark roget’s essay ‘persistence of vision with regards to moving objects’ (1924) where one’s perception of objects appear to be retained momentarily after the withdrawal of said object. It is used to explain the even of how images in quick secession elicity a sense of movement though this may appear a plain enough explnation, its full theory is not quite a s simple. As others such as joseph and barbara anderson point out, the theory has its inadqueacies. By introdycing this, the pupose here is not the epouse theories of perception or cite the history of film and cinema, but rather to highlight one aspect of the anderson’s claim, that the persistence of vision myth erroneously defines a passive viewer upon whom images impinge upon.