Abstract

The essay concerns an array of graphic works the author calls dynamographies. These images do not only localize movement by graphic means but reveal new forms of movement. In dynamography, rhythm makes visible a movement dissociated from linear time – not in order to abolish temporality, but in order to multiply it into a diversified heterochrony. Starting from a range of drawings, notes, and notations by the poet Andrei Bely, the essay analyzes Bely's 'life lines' alongside Marey's chronophotography, Warburg's 'dynamograms', and Eisenstein's exercises in mise-en-scène.

Keywords: chronophotography, media, morphology, rhythm, Belyj, Eisenstein, Marey, Warburg

How to Cite: Vogman, Elena. "Dynamographie: Andrej Belyjs rhythmische Figuren." Le foucaldien 2, no. 1 (2016): 1–17. DOI: https://doi.org/10.16995/lefou.18 [Note: In 2022, Le foucaldien relaunched as Genealogy+Critique.]