“We have also envisaged a machine which will render actions visible, more effectively than is now today possible with actions traced from one point, but at the same time keeping them related to the time in which they were made. They will remain idealised by the distortion and by the destruction imposed by the motion and light which translate themselves into trajectories”
- Anton Bragaglia, Futurist Photodynamism (1913)

Anton Bragaglia 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." Photodynamism records images in a distorted state "since images themselves are inevitably transformed in movement".

Patinage as a forms of 'videodynamism' is similarly 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 images 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 and volume 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 around its visual field, as well as the dynamism of screens/windows in a digital environment.