Art Appreciation
77foxtrotChapter 1.5 Motion and Time
PART 1
FUNDAMENTALS
Copyright © 2015 Thames & Hudson
Introduction
Most traditional art media (e.g. painting) are static, but artists have found ways to indicate the passage of time and appearance of motion
New technology and media, such as film and video, allow artists to capture motion and time
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
Moving images are part of our daily life
In the past, our visual experience would be quite different: all art images were still
Motion
Motion occurs when an object changes location or position
Directly linked to time
Artists can communicate motion by implying time or creating the illusion of it
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
Motion
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Interactive Exercises:
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Chapter 1.5 Motion and Time
Implied Motion
This type of motion is used in static works of art
Visual clues tell us that the work portrays motion
We do not actually see the motion happening
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Artwork: Gianlorenzo Bernini, Apollo and Daphne
1.5.1 Gianlorenzo Bernini, Apollo and Daphne, 1622–24. Carrara marble, height 8'. Galleria Borghese, Rome, Italy
Gianlorenzo Bernini, Apollo and Daphne
The sun god Apollo falls madly in love with the wood nymph Daphne
As she runs away terrified, her father saves her by transforming her into a bay laurel tree
Diagonal lines convey the action
The pivotal moment is frozen in time
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Seventeenth-century Italian sculptor Gianlorenzo Bernini (1598–1680) illustrates the ancient Greek myth
Daphne’s fingers sprout leaves as bark encases her legs
She could no longer be Apollo’s wife, instead becoming his tree
Apollo made the laurel wreath his crown
Gianlorenzo Bernini: The Ecstasy of St. Teresa
Video:
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Portal Artwork: Camille Claudel, The Waltz
3.8.19 Camille Claudel, The Waltz. Bronze (posthumous edition), 16⅞ × 14⅜ × 6¾". Private collection
Another great example of implied motion is The Waltz, by Camille Claudel.
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Artwork: Giacomo Balla, Dynamism of a Dog on a Leash
1.5.2 Giacomo Balla, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 35⅜ × 43¼".
Albright-Knox Art Gallery, Buffalo, New York
Giacomo Balla, Dynamism of a Dog on a Leash
Balla was an Italian Futurist
Conveys a sense of forward motion
A series of repeating marks in the dog’s tail, feet, and leash communicate rapid movement
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
Giacomo Balla (1871–1958) paints the dog’s tail in eight or nine different positions
The leash is an implied line, repeated in four different positions
The Illusion of Motion
Artists create an illusion of motion through visual tricks
Our eyes are deceived into believing there is motion as time passes, even though no actual motion occurs
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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Artwork: Jenny Holzer, Untitled
1.5.3 Jenny Holzer, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series,
The Survival Series, Under a Rock, Laments, and Child Text), 1989. Extended helical tricolor LED, electronic display signboard, site-specific dimensions. Solomon R. Guggenheim Museum, New York
Jenny Holzer, Untitled
In Holzer's Untitled Tiny LEDs (light-emitting diodes) are illuminated in an automated sequence
The messages appear to scroll up the circular atrium, although the text does not actually move
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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American artist Jenny Holzer (b. 1950) created this installation in the Guggenheim Museum, New York (designed by Frank Lloyd Wright)
Holzer used this illusion to invigorate her messages and critiques of society
Artwork: Bridget Riley, Cataract 3
1.5.4 Bridget Riley, Cataract 3, 1967. PVA on canvas, 7'3¾" × 7'3¾". British Council Collection
Bridget Riley, Cataract 3
This artwork is an example of Op art (Optical art)
If we focus on a single point in the work, the image appears to vibrate
We can see this optical illusion because Riley uses sharp contrast and hard-edged graphics set close together
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
British artist Bridget Riley (b. 1931) was part of the Op art movement
During the 1960s, painters in this style experimented with discordant positive–negative relationships
This optical illusion grows out of the natural physiological movement of the human eye
Stroboscopic Motion
When we see two or more repeated images in quick succession, they appear to fuse together
Basis for early attempts to show moving images
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Gateways to Art: Understanding the Visual Arts
Stroboscopic Motion
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Chapter 1.5 Motion and Time
Artwork: Phenakistoscope
1.5.5 Phenakistoscope, or “Magic Disk,” c. 1840. Wood and glass with 8 paper disks. Made in France
Phenakistoscope
This device, meaning “spindle viewer” was invented in 1832
Features a series of drawings placed on one side of a disc
Viewer looks through a slotted disc while the illustrated disc is spinning to see images appear to move and repeat
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
Artwork: Gregory Barsamian, Drum 52
1.5.6 Gregory Barsamian, Drum 52, 2013. Kinetic sculpture/installation:
steel, ureathane foam, sculpy, strobe light, motor. Artist’s collection
Gregory Barsamian, Drum 52
This artwork was intended to be viewed in an environment with strobe lighting
Kinetic, or moving, sculpture and also an installation
Without the strobe's pulsing effect, the image would disappear into a blur of motion
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Frame from Finding Nemo
1.5.7 Frame from Finding Nemo, 2003. Duration 100 minutes. Director Andrew Stanton, Walt Disney Pictures
Frame from Finding Nemo
This movie was compiled from individual frames that were generated using 3-D modeling software
Animator produces sequenced frames, played in rapid succession
Committed to film or digital media for distribution to movie theaters
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Animation
Video:
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Scene from Run Lola Run
1.5.8 Scene from Run Lola Run, 1998. Duration 81 minutes.
Director Tom Tykwer,, X-Filme Creative Pool/WDR/Arte
Scene from Run Lola Run
The plot follows Lola who must save her boyfriend within 20 minutes
Story reboots three times, each time with a new set of circumstances
Film reinterprets time and demonstrates the impact that a few seconds’ difference can make
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
“Movie” is an abbreviation of “moving picture”
Director Tom Tykwer (b. 1965) sets the film in Berlin
Lola receives a panicked call from her boyfriend, Manni
He is threatened by a mobster demanding 100,000 Deutschmarks (approximately $70,000)
Lola tries to save his life, but gets shot herself
As the story begins again, she is partly prepared from the first version of events
Viewer is engaged and can explore the characters in greater depth with each reset
Actual Motion
We see actual motion in artworks that change in real space and time
Examples include kinetic art (a work that contains moving parts) and performance art
In performance art, the artist’s intention is to create an experience rather than an art object
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Performance art emerged during the 20th century with such artists as Joseph Beuys (1921–1986)
Following his traumatic experiences in the German Air Force in WWII, Beuys performed what he called actions
Actions were self-performed situations in which Beuys would interact with everyday objects; for example animals, fat, machinery, and sticks
By putting common items in new situations, he conjured up different ways of thinking about our world
He once played a piano filled with animal fat that changed the sound and mechanics
Actual Motion
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Chapter 1.5 Motion and Time
Portal Artwork: Joseph Beuys, Coyote, I Like America and America Likes Me
2.10.7 Joseph Beuys, Coyote, I Like America and America Likes Me, May 1974. Living sculpture at the René Block Gallery, New York
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Artwork: Cirque du Soleil performing Totem
1.5.9 Cirque du Soleil performing Totem in Montreal, Quebec, July, 2010
Cirque du Soleil performing Totem
Formed in 1984, this troupe is a touring entertainment act
French for “Circus of the Sun”
Integrates music and acrobatics, enacted before a live audience
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Chapter 1.5 Motion and Time
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Artwork: Alexander Calder, Untitled
1.5.10 Alexander Calder, Untitled, 1976. Aluminum and steel, 29'10⅜" × 75'11¾".
National Gallery of Art, Washington, D.C.
Alexander Calder, Untitled
Calder invented the mobile, a type of kinetic sculpture
Relies on air currents to power its movement; constantly changes
Untitled, his final sculpture, is made up of counterbalanced organic shapes
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
The earliest kinetic artwork is credited to French artist Marcel Duchamp (1887–1968)
Duchamp mounted a bicycle wheel on a barstool so that the wheel could be spun
American sculptor Alexander Calder (1898–1976) took the name “mobile” from a suggestion by Duchamp
Untitled is made of aluminum and steel; it is suspended in the National Gallery of Art in Washington, D.C.
Theodorus Gerardus Jozef “Theo” Jansen, Animaris Umeris
1.5.11 Theodorus Gerardus Jozef “Theo” Jansen, Animaris Umeris (Strandbeest #48), 2009.
Recycled plastic bottles, plastic tubing, PVC pipe, wood, fabric. Scheveningen Beach, The Netherlands
Theodorus Gerardus Jozef “Theo” Jansen, Animaris Umeris
Jansen's sculptures, "Strandbeests," are carefully designed to appear to move by themselves
Remarkable appearance of continuous movement that looks like an animal walking
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Portal Artwork: Marcel Duchamp, Bicycle Wheel
3.9.8 Marcel Duchamp, Bicycle Wheel, 1951. Metal wheel mounted on painted wood stool, 50½ × 25½ × 16⅝". MoMA, New York
Marcel Duchamp was one of the first artists to create kinetic sculptures.
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Time
Any artwork that deals with events must show how time goes by
Artists find ways to communicate the passage of time and remind us of its influence
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
Time
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Chapter 1.5 Motion and Time
The Passage of Time
Artists often seek to tell a story
This can be in a single painting
Some artists examine cycles of time
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Artwork: The Meeting of St. Anthony and St. Paul
1.5.12 Workshop of the Master of Osservanza (Sano di Pietro?), The Meeting of St. Anthony and St. Paul, c. 1430–35. Tempera on panel, 18½ × 13¼”. National Gallery of Art, Washington, D.C.
The Meeting of St. Anthony and St. Paul
This painting tells a story by merging a series of episodes into one picture
The entire painting signifies a long pilgrimage over time, rather than a single moment
Linear method is still used by artists, comic-book writers, and designers
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Fifteenth-century painters in the workshop of the Master of Osservanza solved the problem of telling a story in a single picture.
The story begins in the upper left-hand corner, where St. Anthony sets out across the desert to seek St. Paul
Next, in the upper right, St. Anthony encounters a centaur (associated with the Greek god of wine, Bacchus)
St. Anthony is not deterred by earthly temptation and continues until he embraces St. Paul in the foreground
Artwork: Nancy Holt, Solar Rotary
1.5.13 Nancy Holt, Solar Rotary, 1995. Aluminum, concrete, and meteorite,
approx. height 20', approx. diameter 24'. University of South Florida
Nancy Holt, Solar Rotary
Holt's sculpture intertwines the passage of time with the sun's motion
At relevant times of the year, the work casts shadows on notable dates set into the surrounding concrete
Center bench is encircled by shadow at noon on the summer solstice
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American artist Nancy Holt (1938–2014) examines cycles of time in her works
Solar Rotary, located in Tampa, Florida, features an aluminum sculptural “shadow caster” perched on eight poles
On March 27, a circle shadow surrounds a marker recounting a day in 1513 when Spanish explorer Juan Ponce de León first sighted Florida
The center circular bench contains a meteorite symbolizing the connection between our world and the larger universe
Artwork: Hunting Scene, painting from Cova dels Cavalls
1.5.15 Hunting Scene, painting from Cova dels Cavalls (Horses’ Cave), Mesolithic period. Valltorta, Valencia, Spain
Hunting Scene, painting from Cova dels Cavalls
Depicting time in art is not a concept that exists only in the modern world
Shows bow hunters as the bow is aimed; the arrows in flight; and arrows piercing deer
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Gateways to Art: Understanding the Visual Arts
Artwork: Ai Weiwei, Dropping a Han Dynasty Urn
1.5.14 Ai Weiwei, Dropping a Han Dynasty Urn, 1995. Three black-and-white photographs, each 53½ × 42⅜"
The three life-sized photographic panels are documentation of the passage of time as the artist committed the irreversible act of destruction.
The left panel shows the artist holding the vase somewhat carelessly
The second shows the vase falling to the ground and the artist’s hands boldly (or shamelessly) in the air
The third photo captures the vase smashing on the ground without any reaction on his part
Ai Weiwei: Motion and Reproduction as a Metaphor for Time
Through time and motion, the artist acknowledges both the antiquity and importance of the object
The images link the old and the new in Chinese art and culture
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Chapter 1.5 Motion and Time
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In 1995 Chinese artist Ai Weiwei (b. 1957) created a time-based work that sparked great controversy: he was photographed dropping a 2,000-year-old Chinese urn
Chinese ceramics are symbols of centuries-long innovation and ingenuity
References the Chinese government’s similar lack of care and preservation of ancient objects
Dropping A Han Dynasty Vase has sparked a renewed interest in ancient objects that were being taken for granted by the Chinese government and society as whole
The Attributes of Time
Time-based arts, such as film, embody six basic attributes of time:
duration, tempo, intensity, scope, setting, and chronology
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Gateways to Art: Understanding the Visual Arts
Artwork: Edison and Dickson, Fred Ott’s Sneeze
1.5.16 Thomas Edison and W. K. Dickson, Fred Ott’s Sneeze, 1894. Still frames from kinetoscope film. Library of Congress, Washington, D.C.
Edison and Dickson, Fred Ott’s Sneeze
Duration (length) is 5 seconds
Tempo (speed) is 16 frames per second
Intensity (level of energy) is high
Scope (range of action) is limited
Setting (context) is Edison’s studio
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Gateways to Art: Understanding the Visual Arts
Intensity is high because the activity is sudden and strong
Scope is limited because it is confined to a simple activity
Fred Ott appears to be placing some snuff in his nose, recoiling, then jerking forward as he sneezes
Natural Processes and the Passage of Time
Some artists use biology and organic materials to indicate the passage of time in their artwork (bioart)
Organic materials grow and degrade, so work by “bioartists” is always changing
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Artwork: Suzanne Anker, Astroculture (Shelf Life)
1.5.17 Suzanne Anker, Astroculture (Shelf Life), 2009. Aluminum, plastic, red and blue LED lights, plants, water, soil, and no pesticides. Dimensions variable. Vegetable-producing plants grown from seed using LED lights. Installation view at Corpus Extremus (LIFE+), Exit Art, New York
Suzanne Anker, Astroculture (Shelf Life)
Anker's bioart experiments with how plants might react in artificial conditions
Uses LED lights instead of sunlight to provide nourishment
Blurs the line between science and art
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Gateways to Art: Understanding the Visual Arts
In her work, American bioartist Suzanne Anker (b. 1946) creates conditions that would suit rare environments, such as outer space
The use of red and blue LED lights reduces the amount of light and energy required, eliminates the need for insecticide, and lowers carbon emissions
Contributes to our understanding of the universe while delivering interesting visual forms
Artwork: Ron Lambert, Sublimate (Cloud Cover)
1.5.18 Ron Lambert, Sublimate (Cloud Cover), 2004. Water, vinyl, humidifiers, steel, aluminum, and acrylic, dimensions variable
Ron Lambert, Sublimate (Cloud Cover)
Lambert created a large transparent plastic environment in which water endlessly evaporates and condenses
Shows how the rhythms of nature become a measure of natural time
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Chapter 1.5 Motion and Time
Gateways to Art: Understanding the Visual Arts
Natural processes dominate the work of American sculptor Ron Lambert (b. 1975)
The water cycle illustrates the passage of time
We gauge time by how long we have to wait for the next rain
Constantin Brancusi
Umberto Boccioni,
Unique Forms of Continuity in Space
Dynamism of a Soccer Player
MoMA Videos
To learn more about the use of time and motion in art, watch these videos of MoMA lecturers talking about artworks in the MoMA collection:
MoMA Video
MoMA Video
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MoMA Videos (contd.)
Marcel Duchamp,
Bicycle Wheel
To learn more about the use of time and motion in art, watch these videos of MoMA lecturers talking about artworks in the MoMA collection:
MoMA Video
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Chapter 1.5 Copyright Information
This concludes the PowerPoint slide set for Chapter 1.5
Gateways to Art: Understanding the Visual Arts
Third Edition
By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Copyright © 2015 Thames & Hudson
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Chapter 1.5 Motion and Time
Picture Credits for Chapter 1.5
1.5.1 Galleria Borghese, Rome
1.5.2 Albright-Knox Art Gallery, Buffalo, New York, Bequest of A. Conger Goodyear and Gift of George F. Goodyear, 1964. © DACS 2018
1.5.3 Solomon R. Guggenheim Museum, New York, Partial gift of the artist, 1989, 89.3626. Photo David Heald © Solomon R. Guggenheim Foundation, New York. © Jenny Holzer. ARS, NY and DACS, London 2018
1.5.4 © Bridget Riley, 2012. All rights reserved
1.5.5 Courtesy The Bill Douglas Cinema Museum, University of Exeter, England
1.5.6 © Gregory Barsamian 2013. Photo the artist
1.5.7 Disney Enterprises/Album/akg-images
1.5.8 Arte/Bavaria/WDR/Spauke, Bernd/The Kobal Collection
1.5.9 Photo OSA Images
1.5.10 © Board of Trustees, National Gallery of Art, Washington, D.C.
1.5.11 Courtesy the artist
1.5.12 National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, 1939.1.293
1.5.13 Photo University of South Florida. © Estate of Nancy Holt/DACS, London/VAGA, New York 2018
1.5.14 Courtesy Ai Weiwei Studio
1.5.15 Rotger/Iberfoto/photoaisa.com
1.5.16 Library of Congress, Washington, D.C. Prints & Photographs Division, LC-USZ62-536
1.5.17 © Suzanne Anker
1.5.18 © the artist. Courtesy Catherine Person Gallery, Seattle, Washington
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Chapter 1.5 Motion and Time