It is interesting to note how "Movimento monocromático [Monochromatic motion]" works, at least at first, in much the same way as those optical experiments which, using high-speed rotating color circles, demonstrate the additive color mixing effect. In this experiment, for example, when rotating a disk with the seven colors of the rainbow, we will not observe them separately to see only the final result of its mixture, in this case, the white color. Thus a monochromatic purely optical and virtual effect is obtained from concretely different colors, that is, without direct correlation with the material properties of its object. Thus, as Goethe postulates, the relative, if sensible, subjective nature of the visual experience is thus demonstrated.
Judas's work, however, seems to address an earlier point: it asks so much about the relative nature of the experience of color (is there a difference between a homogeneous color when static and moving?) And about the relative character of the movement itself Time (what moves when something moves without any change actually being perceived?). In addition to that of simple formalism, a commentary on time and, subsequently, on the very nature of history is outlined here. After all, if on the one hand we find in the work an analysis of the constitution of one's own sensuous experience, on the other hand we recognize in it a commentary on a dynamic system in which stagnation and revolution are indistinguishable indefinitely.
See also: Tiago Judas' blog: http://tiagojudas.blogspot.com/