EADWEARD JAMES MUYBRIDGE and ETIENNE-JULES MAREY | | |
| |These men unite in Paris to begin collaborating in the study of motion. Muybridge had by now, constructed a series of pictures depicting motion by the use of a single camera. He |
| |then alongside Marey, shows these photos using a Uchatius lantern and could possibly have acquired picture-motion this way. The Zoopraxiscope has been, albeit rarely, called |
| |the Zoogyroscope as well. One such instance was a write-up from in Cassiers’s Magazine of 1881 in which we read ; |
an older name for a movie projector, a machine, combining magic lantern and kinetoscope features, for projecting on a screen a series of pictures, moved rapidly (25 to 50 frames per second) and intermittently before an objective lens, and producing by persistence of vision the illusion of continuous motion; a moving-picture projector; also, any of several other machines or devices producing moving pictorial effects. Other older names for the movie projector are animatograph, biograph, bioscope, electrograph, electroscope, kinematograph,kinetoscope, veriscope, vitagraph, vitascope, zoogyroscope, zoopraxiscope, etc.
A former governor of California, Leland Stanford, commissioned Muybridge to settle the dispute over whether a trotting horse, ever had all four of its feet off the ground. The artist at the time believed it was an impossible task. (2) With the support of the University of Pennsylvania in Philadelphia, Muybridge produced over 100,000 images of humans and animals in motion. Muybridge arranged twelve cameras beside the track, “Strings attached to electric switches were stretched across the track; the horse, rushing past, breasted the strings and broke them, one after the other; the shutters were released by an electromagnetic control, and