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The Coupling of Cinematics and Kinematics

The Coupling of Cinematics and Kinematics The Cinema Integraph analog computer for harmonic analysis. From The Journal of the Franklin Institute (1940). doi:10.1162/GREY_a_00149 The Coupling of Cinematics and Kinematics KYLE STINE The term cinema traces back to the 1830s when André-Marie Ampère adopted cinématique, from the Greek κίνημα, movement, to describe “the purely geometrical science of motion in the abstract.”1 Citing Ampère, German engineer Franz Reuleaux reverted to the hard k of the Greek in his Theoretische Kinematik (1875) to name the new discipline of machine kinematics. Through this German detour, the term entered the English language as the science of machine design. English speakers thus inherit two concepts from the same source: kinematics, passing through a mechanical lineage of iron and steel; and cinematics, comprising the synthesis of movement in virtual space.2 Far from an accident of terminology, this divergence maps a coupling at the basis of all cinematic creation and all machine manufacturing, a coupling of optics and mechanics. From automotive assembly to computer animation, from surveillance systems to machine vision technologies, processes of picturing and machine movement fold into one another, enhancing capabilities on both sides. The history and theory of this coupling remains largely unexplored. Research on the role of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Grey Room MIT Press

The Coupling of Cinematics and Kinematics

Stine, Kyle
Grey Room , Volume Summer 2014 (56) – Jul 1, 2014
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Publisher
MIT Press
Copyright
© 2014 by Grey Room, Inc. and the Massachusetts Institute of Technology.
ISSN
1526-3819
eISSN
1536-0105
DOI
10.1162/GREY_a_00149
Publisher site
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Abstract

The Cinema Integraph analog computer for harmonic analysis. From The Journal of the Franklin Institute (1940). doi:10.1162/GREY_a_00149 The Coupling of Cinematics and Kinematics KYLE STINE The term cinema traces back to the 1830s when André-Marie Ampère adopted cinématique, from the Greek κίνημα, movement, to describe “the purely geometrical science of motion in the abstract.”1 Citing Ampère, German engineer Franz Reuleaux reverted to the hard k of the Greek in his Theoretische Kinematik (1875) to name the new discipline of machine kinematics. Through this German detour, the term entered the English language as the science of machine design. English speakers thus inherit two concepts from the same source: kinematics, passing through a mechanical lineage of iron and steel; and cinematics, comprising the synthesis of movement in virtual space.2 Far from an accident of terminology, this divergence maps a coupling at the basis of all cinematic creation and all machine manufacturing, a coupling of optics and mechanics. From automotive assembly to computer animation, from surveillance systems to machine vision technologies, processes of picturing and machine movement fold into one another, enhancing capabilities on both sides. The history and theory of this coupling remains largely unexplored. Research on the role of

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Grey Room – MIT Press

Published: Jul 1, 2014

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