[cgriswald]

1. I think cubism can benefit from an explicit time dimension, though exactly how it should be done, I don't know.

2. I agree, as they are in this video, but I think cubism could be used to capture the experience of entering the monolith even better than Kubrick captured it.

[SuperPaintMan]

Cubism is entirely about working with the time dimension not against it though. In early Cubist works the group took still life as their choice of subject. You could set it up, hack out some geometric forms, move the easel/rearange the subject, add another layer/try reconciling forms, move the easel/rearrange again and so on until the painting was finished. The Futurists/Vorticists were trying to work at the same goal, representing motion using what had been a medium for subjects that moved fairly slowly/not at all. If you look at Picassos "The Weeping Woman" the perspective mis-match comes from moving.

I think the folly of the Cubists was to embrace the still life after the methods had been fleshed out. Most Cubist works are created from a handful of discrete images, this destroys the aspect of motion in my opinion. I've been working to capture proper motion using GoPro POV footage from various sources, rather then pausing the video I let the colours wing by and try and place them on the canvas. What I am choosing to perceive at the moment ends up represented (I avoid faces, thus I have floating forms without heads!), loose marks capture a door frame which has half of a tree-roadway. It's abstracted, but still based on a concrete sequence. The most effective are when a part of the frame is static throughout (a mounting bracket, bike, wiper blade, etc) because that imagery comes through only modified by changing light which provides a contrast against the jumble of forms and colours elsewhere.

The first step towards a Cubist film will involve multiple cameras shooting the same scene from multiple angles and recording the absolute time of the shot. [b]An algorithm that takes n images as an input and applies a deterministic transform to them (weighting certain images)[/b] trying to reconcile the overlaps, looking for prominent forms, picking/merging a colour to use, etc eventually mapping down to a single image. Assuming this could be developed the director would compose the scene from these multiple sources, perhaps giving a effect similar to [1]. The face of a lover is modified woven with images of a child and the image of meal prep on a sunny day. The conversation uses the word cheating in an innocent way and the focus snaps sharply back to the lover where scenes of cheating with the other/secretive behaviours/worry and paranoia are gently woven overtop eventually leaving the lovers voice as the only signifier of this conversation taking place.

But proper cubist imagery cannot come from a simple mapping of styles.

[1] https://www.youtube.com/watch?v=m4LLVIUh6ZM