Oskar Fischinger: ​ ​ A life of Invention & Invention ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Sean Ferris ​ ​ MOME 503 ​ ​ October 29, 2017 ​ ​ ​ ​ Ferris 2 ​ ​ In this paper I will investigate artist Oskar Fischinger and how his works/innovations in the emerging field of digital art paved the way for the animations of today. I will study closely his revolutionary invention the Lumigraph and two different works, An Optical Poem and ​ Motion Painting No. 1. He was born in Frankfurt, Germany in 1900 and duringing his mid ​ ​ twenties he moved to Berlin where he remained for ten years until the Nazi’s seized control in the mid 1930s, according to a grove art online article titled Fischinger, Oskar W.: ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ Due to Nazi persecution in Germany, Fischinger decided to leave and to accept a contract with Paramount Studios in Hollywood, CA, in 1936. After artistic differences, he left for MGM in 1937 and for similar reasons left Walt Disney’s studio in 1939. In 1947 he created Motion Painting No. 1, an abstract colour film using oil on perspex, and this was ​ ​ awarded the Grand Prix at the Exposition Internationale at Brussels the following year.1 ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ A highly desirable characteristic the Fischinger seemed to always have was his ability to always stayed true to who he was. During his early years in germany, he studied to be a draftsman/architect, but he later abandoned that career path for something more enriching in his view. In 1938, Oskar Fischinger created and piece called Optical Poem. Optical Poem, is ​ ​ ​ composed of hundreds of paper cutouts. An important aspect to always take into account when ​ viewing any of his works is that he was very heavily influenced the concept of ‘synaesthesia.’ According to Michael Betancourt, “Synaesthesia became predominant at the end of the nineteenth century because it defied easy explanation at the time, in art, it offered a means to 1 "Fischinger, Oskar W.." Grove Art Online. Oxford Art Online. Oxford University Press, accessed ​ ​​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ October 28, 2016 ​ ​ ​ ​ Ferris 3 ​ ​ counter the claims of universal truth being made by a newly developing materialist science and psychology.”2 For most of this film there is a complete and total synchronized relationship between visuals and audio, however, there is a brief period at about minute 4:36, where the relationship is a little broken if you will. At this point, smaller circles are moving behind a larger circle and then out the put the other side. Now, this section is no completely asynchronous in nature because the shapes still move with the timing of the audio, the difference is that the circle which once moved in time with individual instruments are now just moving with the melody. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ What Oskar Fischinger does so well is capture the essence of the music he is able to show just by using shapes and color where notes are emphasized and when the music is moving up the scale the shapes follow in a respective motion, the same can be said when the musical notes move down the scale. All of these things work together to create a synesthetic phenomenon ​ that is really a pleasure to witness. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ As the film starts out you can clearly see the relationship between the audio and the visual elements that are perfectly in sync with each other outside the large shape that keeps moving across the screen at the bottom. It repeats over and over with the tempo so as the timing increases so did the speed of the shape. What is interesting is that the small circles and the larger circle are both engaged with the same piece of music and yet they are interacting in completely different ways. The smaller circles are directly linked to the individual instruments and reflect those changes in the music. ​ ​ ​ ​ ​ ​ ​ ​ 2 Betancourt, 15. ​ ​​ ​ ​ Ferris 4 ​ ​ A great example of the influence his work has had on the field of motion graphics can been seen in the 1961 title sequence for Disney’s 101 Dalmatians. The synchronization in this ​ film is so strong that it would be very difficult for anyone to find any element not in constant synchronization with the music; just like in the works of Fischinger and especial in Optical ​ Poem. As we can see in the images below will there are a lot of similarities between the two ​ ​ films, figures 1 & 3 are image stills from Optical Poem and Figures 2 & 4 are from Disney’s ​ 101 Dalmatians. If we compare figures 1 and 2 side by side we see the circular shapes seem to ​ be very common and how motions plays out in each frame, now if you were to watch the two clips side by side at the same time even more similarities would become evident. For example, the circular shapes seem to linked directly to specific instruments. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ FIGURE 1. Image still from Oskar Fischinger’s, Optical Poem. ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ FIGURE 2. Image still from Disney’s, 101 Dalmatians. ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ FIGURE 3. Image still from Oskar Fischinger’s, Optical Poem. ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ FIGURE 4. Image still from Disney’s, 101 Dalmatians. ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ Ferris 5 ​ ​ In figures 3 and 4 we have the same two films side by side I chose these two frames because they illustrate how movement can be given to sound that is moving up and or down the scale. In figure 3 the music is moving down the scale in groups of three notes three at a time so naturally the squares are descending in space three at a time. In Figure 4 the boxes are moving back into the frame and it happens in an instant this blip could be easily missed if are not paying attention because it used as a bridge between frames. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Motion Painting No. 1, 1947, is a work of tradition and digital all rolled into one incredible piece that clearly has had a lasting impact on the film industry to this day. This short eleven minute film is an oil painting on glass that contains no visible cuts of transitions between frames. The biggest and perhaps the most important thing to point out is that Fischinger used digital art to study how color, shapes and music could influence one another to create something called “Visual Music.” ​ ​ ​ ​ There are a lot of things happening at once in Motion Painting No 1., this short film is ​ packed with sensory stimulating elements, but it is worthing pointing out that that not only is there a multimedia aspect to this piece, countless other skills being employed as well. By this I mean, that the first half of the film is comprised of very organic shapes and lines such as circles and spirals, but in the latter portion of the film we see a more geometric approach. The critical thing to do now is step back and look carefully, by doing so you will not only see shapes and lines of various colors, but the forms of an architectural plan being created. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Today, the impact of his studies on the relationships of sound and object interaction/synchronization still echos in both the film and music industries. A great example that shows the impact his work has had on the film industry today is the title sequence for the 2003 Ferris 6 ​ ​ Walt Disney film, Monster’s Inc.. In this title sequence colors and shapes move in time with the ​ music creating a fun innovative 2.5D title animation. We can see in FIGURES 5. & 7. how objects move in arcing motions in the Monsters Inc. title sequence much like the spirals seen in ​ in the large red circle in FIGURES 6 & 8 in Fischinger's, Motion Painting No. 1. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​​ ​ ​ ​ ​ ​ ​ ​ FIGURE 6. Image still from Oskar Fischinger’s, Motion Painting No. 1. FIGURE 5. Image still from Walt Disney’s, Monster’s Inc. ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ FIGURE 7. Image still from Walt Disney’s, Monster’s Inc. FIGURE 8. Image still from Oskar Fischinger’s, Motion Painting No. 1. ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ According to “The new technology of soundtrack stimulated a stricter synaesthetic relationship between moving images and music. Fischinger attempted to create a "visual music" perfectly correspondent to the music synchronized to it, from a formal and synaesthetic standpoint.”3 If we stop for a moment we can see the influence his works have had all around us today, for example in visualizer mode in itunes abstract forms create a visual display in sync 3 ARFINI, MARIA TERESA1. 2013. "ABSTRACT FILM AS VIEWABLE MUSIC: EARLY EXPERIMENTS OF HANS ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ RICHTER, WALTHER RUTTMANN AND OSKAR FISCHINGER." Music In Art: International Journal For Music ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Iconography 38, no. 1/2: 213-221. Art & Architecture Source, EBSCOhost(accessed November 19, 2016). ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Ferris 7 ​ ​ with the music that is playing. The interesting thing is that not only has his work impacted music and film, but also technology. Apple’s itunes is an application and visualizer mode is something that has been coded into the program, which means that computer scientists had to create algorithms to allow itunes to interpret any kind of audio and create a visual display of color and abstract forms. ​ ​ The invention of the lumigraph may be one of the most significant inventions of the last century coming from the standpoint of animation and motion graphics that is that is. Even though it seems like such a simple instrument the lumigraph is rather complex. It is a device that is essentially a highly specialized projector of sorts, it was invented and patented in 1950 by Oskar Fischinger. On page 137 of his book William Möritz discribes the lumigraph as: ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​​ An instrument for playing light images. It consists of a frame enclosing a three-foot-square screen area; the lighting elements are inside the frame, which only allows the light to escape through thin slits, so that just a thin area a quarter of an inch in front of the screen contains coloured light.