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Lazlo Moholy Nagy: Vision in Motion 1947. https://www.bauhaus-dessau.de/en/publications/edition-bauhaus-39- brlaszlo-moholy-nagy-vision-in-motion.html
Moholy Nagy (pronunced Moholly Naje) is very interesting to me as a polymath - an artist fascinated
with the technology of image-creation and reproduction, who was successful as an industrial desi- gner (his work for Parker Pens), as a documentarist, teacher (at the Bauhaus and the Chicago Bau- haus), photographer, painter, montagist, typographer and graphic designer (including logos and ads for Isokon), a writer/art theorist, and futurist (his 'telephone' paintings of 1922 were specified over the phone to a manufacturer of enamels). He was also an important constructivist sculptor and film-maker. His mobile mechanised construction Ein Lichtspiel-Schwartz/Weiss/Grau and the ac- companying film were exhibited at Tate Modern during 2006, and indicate his importance as a semi- nal installation artists in the new media tradition - anticipating the work of 1960s artists like Jean Tinguely, Jeffrey Shaw, Robert Rauschenberg and Billy Kluver. My favourites of his books include Painting, Photography, Film (1925) and Vision in Motion (1947). It offers Moholy Nagy's reflections on life and art, on his innovative work on the Bauhaus Foundation Course, on the impact of moder- nism on all the arts, including the motion-picture arts. It was essential reading for an aspiring audio- visual designer/art student in the 1960s.
Vannevar Bush: The Memex from As We May Think 1945.
This was the crucial thought-experiment in the media-arts - the article that outlined the usefulness of electronic-linking in the field of ‘documentation’ or information design.