La structure est donc en fait un simulacre de l’objet, mais un simulacre dirigé, intéressé, puisque l’objet imité fait apparaître quelque chose qui restait invisible, ou si l’on préfère, inintelligible dans l’objet.
Roland Barthes, « L’activité structuraliste »

Motion pictures. This is the short description of a media event now labeled the new media revolution. Ever since the invention and spread of cinematography, television and new media, images have been in motion.
Images and colors are messages. Up to date, any research on their basic structures, dynamics and kinetics has received little attention. “Messages such as cartoons or movies per se unfold along two spatial dimensions and one temporal dimension; they belong to the “temporal arts” (L2T)“*, which is also true for computer animation.
Print, painting, photography and graphic works consist of colors and shapes, which
are scanned with (scanning exploration) and perceived by the eyes of the beholder.
The duration of the exercise depends on the viewer’s desire to perceive and their perceptiveness. It is not the recipient (viewer, spectator) who determines the period of time spent perceiving when watching a movie, a TV sequence or a computer animation but the transmitter (director, program planner, graphic artist).
Our goal is to establish which underlying basic structures these temporal events are based on. Our research is focused on the kinetics and dynamics of colors.
In order to reveal these structures, a colored square represents all color phenomena of the object to be examined. We prefer a simple shape/color, as it has the lowest information density and, as a “percepteme”**, embodies the smallest perceptual unit.
The video on this page seems chaotic. However, the chaos is based on basic structures to be discovered and mapped.

* Cf. Abraham A. Moles. Théorie de l'information et perception esthétique, 1958
        **Cf. Zeichen und Design. Semiotische Ästhetik, 1971