ABSTRACT
With the introduction of the camera, László Moholy-Nagy saw that the potential for producing visual images had been expanded: ‘the modern lens is no longer tied to the narrow limits of our eye; no manual means of representation (pencil, brush, etc.) is capable of arresting fragments of the world seen like this; it is equally impossible for manual means of creation to x the quintessence of movement’.2 For Moholy-Nagy, arresting light as a tool – ‘chiaroscuro in place of a pigment’3 – extended the limits of drawn or painted marks.
