Establishes Lichtspiel as a framing and media archaeology as an approach, focuses on light dark contrast, light art, and simple forms of optical technology, slow tempos, contrast but not flicker. Karen Barad (agential realism), Zielinski’s genealogy of projection and variantology, Kircher Ars Magna Lucis et Umbrae, Shadowgraphy, Shadow puppets, Camera Obscura, Magic Lantern/phantasmagoria, Pepper’s ghost, hold-to-light postcards, Kumi Yamashita, Anthony McCall, Robert Hook, Schlieren photography (August Toepler, 1864), Shadow Girls Cult, night shade Sarah frechette, Jason thibodeaux ## Moholy Nagy ### [Handmade cinema](https://handmadecinema.com/filmmaker/laszlo-moholy-nagy/) 1934, > “I want a bare room with twelve projectors so that the white void can be activated by the criss-crossing of beams of colored light.” He also spoke of creating a “dynamic light architecture” that would “unite the ‘sequence’ of music and the ‘juxtaposition’ of painting.” > > Moholy further suggested that filmmakers use film’s resources of “color, plasticity and simultaneous displays, either by means of an increased number of projectors concentrated on a single screen, or in the form of simultaneous image sequences covering all the walls of the room.” He also formulated ideas regarding “light cannons” that would project images onto clouds or gas, mobile projectors, malleable screens, and public light displays. https://beoplay.squarespace.com/journal/2016/2/11/soviet-light-music