Painting, Photography, and Film by Laszlo Moholy-Nagy

By Laszlo Moholy-Nagy

This translation of the unique 1925-27 Moholy-Nagy e-book offers his cutting edge Rayographs made and not using a digicam, the artistic X-rays, super-wide-angle fisheye photos, double prints, collages, montages, and the Bauhaus artist's ideas at the interrelationship of kind, audio, and visible conception.

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It may appear as illustration beside the words, or in the form of lphototext' in place of words, as a precise form of representation so objective as to permit of no individual interpretation. The form, the rendering is constructed out of the optical and associative relationships: into a visual, associative, conceptual, synthetic continuity: into the typophoto as an unambiguous rendering in an opti cally valid form. (An experiment, p. 124) . The typophoto governs the new tempo of the new visual literature .

They can, however, also be forthright, tell a story; more veristic 't han life itself'. It will soon be possible to do this work, at present still in it s infancy and done by hand, mechanically with the aid of projections and new printing processes. T o some extent this is already done in current film practice: transillumination; one scene carried over into another; superimposition of different scenes. The iris and other diaphragms can be variously set to link t ogether disconnected parts of events by means of a common rhythm.

Our age: that of the film; the electric sign, simultaneity of sensorily perceptible events. It has given us a new, progressively developing creative basis for typography too. Gutenberg's typography, which has endured almost to our own· day, moves exclusively in the linear dimension. The intervention of the photographic process has extended it to a new dimensionality, recognised today as total. The preliminary work in this field was done by the illustrated papers, posters and by display printing.

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