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Anton Bragaglia (1913) contrasted his notion of a futurist 'photodynamism' with the contemporary methods of cinematography and chronophotography: "We are not interested in the precise reconstruction of movement, which has already been broken up and analysed. We are involved only in the area of movement which produces sensation." His photodynamism recorded images in a distorted state, "since images themselves are inevitably transformed in movement".

Patinage as a form of 'videodynamism' is not concerned with perfect reproductions, nor the moment: "our aim is to make a determined move away from reality, since cinematography, photography and chronophotography already exist to deal with mechanically precise and cold reproduction." We see the ice skaters devolve into broken idealised forms, and without user interaction, they eventually fade away completely.

The intention is to capture something more essential, to represent the motion itself, its form in space across time: "We seek the interior essence of things: pure movement; and we prefer to see everything in motion".

Videodynamism takes account of both the motion of the subject and the motion of the screen upon which the subject is depicted. This may represent the movement of the eye and its visual field, as well as the dynamism of screens/windows in a digital environment.