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He keeps live photography for experimental apparatus and for physiological subjects where scientific moving pictures exist, and his art-method films film a demonstrator rather than animate. He does not name invisible, slow or microscopic phenomena as such (bounded scan of chapter XI).","status":"active","body":{"text":"Lutz proposes animated drawings for subjects where the camera cannot show the thing: the heart and circulation, muscle action, the skeleton's levers, evolution as a tree; for machinery in operation, where a drawing replaces a static plan; and for change over time, such as changing maps. His reasons are (a) the camera cannot photograph some details, (b) the eye grasps a moving drawing in moments that paragraphs would take to explain, (c) a trained draughtsman can draw it, and (d) for maps and evolution, the subject is itself a change of a diagram. He keeps live photography for experimental apparatus and for physiological subjects where scientific moving pictures exist, and his art-method films film a demonstrator rather than animate. He does not name invisible, slow or microscopic phenomena as such (bounded scan of chapter XI).\n\nCurator qualifications: Subject-suitability reasons (camera cannot show it; diagram changes).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/73455/pg73455.txt","note":"candidate evidence excerpts"}]},"categories":["T01","T07","T17"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/73455/pg73455.txt","claim":"Lutz proposes animated drawings for subjects where the camera cannot show the thing: the heart and circulation, muscle action, the skeleton's levers, evolution as a tree; for machinery in operation, where a drawing replaces a static plan; and for change over time, such as changing maps. His reasons are (a) the camera cannot photograph some details, (b) the eye grasps a moving drawing in moments that paragraphs would take to explain, (c) a trained draughtsman can draw it, and (d) for maps and evolution, the subject is itself a change of a diagram. He keeps live photography for experimental apparatus and for physiological subjects where scientific moving pictures exist, and his art-method films film a demonstrator rather than animate. 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His reasons are (a) the camera cannot photograph some details, (b) the eye grasps a moving drawing in moments that paragraphs would take to explain, (c) a trained draughtsman can draw it, and (d) for maps and evolution, the subject is itself a change of a diagram. He keeps live photography for experimental apparatus and for physiological subjects where scientific moving pictures exist, and his art-method films film a demonstrator rather than animate. He does not name invisible, slow or microscopic phenomena as such (bounded scan of chapter XI).\n\nCurator qualifications: Subject-suitability reasons (camera cannot show it; diagram changes).\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/73455/pg73455.txt","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"Which subjects does Lutz (1920, ch. 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