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The Darwinian rise of Urban Kinetics
Abstract: Exp
loring the implications of an apparent new genre in animation; kinetic models that conceptualise change in space/time and address audiences outside of broadcast media. This paper asks; has a change in audience wrought a new formalism for animation? Drawing on examples of the author’s own work and analysing kinetic and ‘outsider’ animation, the paper reveals how new media and conceptualisations of kinetic expression are changing the landscape of the animation discipline. Like traditional animation, Urban Kinetics has the signature of making the impossible possible; that ‘wow’ factor and appeal that is so eagerly sought by advertisers. Is it animation’s future?Biographical statement: Carol started her career as a film editor and animator working in claymation and later CGI. An interest in combining theoretical research with practice has led Carol to undertake a PhD in Arts and Computational Technology at Goldsmiths University. This paper combines theory with art practice drawing on Carol’s recent kinetic artworks featured at London’s Kinetica Exhibition and her PhD research into the Psychology of Kinetic Perception. Carol’s paper, ‘How Psychophysical Perception of Motion and Image relates to Animation Practice’ was runner-up for the S.A.S. McLaren/Lambart Essay Award in 2008.
The Experimental Cross-Over
Abstract: The 
paper I want to present will look at the relationship, by way of convergence and distinction, between non-commercial abstract experimental animation and what can be described as animation/motion graphics done for commercial purposes and which can be seen from an angle of abstract animation. With these two sides facilitating each other, with the development of models of working and thinking that fail to recognise such a polarity. Hopefully this paper will raise discussion of an analysis of how far this evolution is possible and what the development of those working models are and what they can be. The paper will also look to develop discussion over whether such a relationship hasn’t changed in the sense of whether there has always been a distinct relationship and cross-over between commercial and non-commercial animation.
Biographical statement: As an animator I am as often influenced or intrigued by a piece of motion graphic/animation that I have seen on TV/Film as part of an advert, TV ident, or intro for a Film or TV programme and done for commercial purposes. As I am influenced or intrigued by seeing experimental animation done for non-commercial purposes. An aspect of my research agenda and experience is the way in which abstract experimental animation and film including motion graphics relates to and crosses over with media seen in popular culture.
Expanded Cinema in animationAbstract: Thi
s paper will discuss and debate, through an innovative range of undergraduate student projects, ways in which Expanded Cinema has proved a valuable tool in the crafting, editing, presenting, reviewing, and remaking of moving image with particular focus on animation in its physical, virtual and hybrid forms. ‘Live’ projects - collaborations with industry clients and employers - have become a core component of the curriculum. Such projects create opportunities to work in a ‘real’ professional context and provide an environment of flexibility and innovation, which challenges and facilitates experimental work. This co-operative participation reflects the essence of how we support the potential for testing, trashing and refashioning moving image in the spirit of Expanded Cinema.
Biographical statement: Martina Bramkamp studied Communication Design and Animation in Germany before graduating from the Royal College of Art with an MA in Animation. She lives in London and is a Senior Lecturer on the BA Illustration/Animation course at Kingston University and the BA and FdA Animation courses at the London College of Communication. Martina works in commercial film making as a freelance animator and storyboard artist, and has exhibited her illustration work, moving image installations, photography and sculptures in Britain and Germany.
loring the implications of an apparent new genre in animation; kinetic models that conceptualise change in space/time and address audiences outside of broadcast media. This paper asks; has a change in audience wrought a new formalism for animation? Drawing on examples of the author’s own work and analysing kinetic and ‘outsider’ animation, the paper reveals how new media and conceptualisations of kinetic expression are changing the landscape of the animation discipline. Like traditional animation, Urban Kinetics has the signature of making the impossible possible; that ‘wow’ factor and appeal that is so eagerly sought by advertisers. Is it animation’s future?
