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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.
Animation as New Media: or Ontological Quest for Animation Media Epistemology
Abstract: In the h
yped world of New Media, animation technologies are the nuts and bolts of digital arts. The changes brought by digital technology forces anyone involved to reconsider the fundamental question, in my opinion, that never got a clear answer: what is animation and what is New Media? I believe that ontological questions about animation have been largely over-shadowed by its technology. If one separates animation media and animation technology, what would define animation media? In this paper, I wish to examine the historical view that defined animation media, and its relation with New Media.
Biographical statement: Hee Holmen is an artist-researcher in animation media, and has a MFA from California Institute of the Arts, Experimental Animation, and the second MA from Film Science at Norwegian Technical University. Holmen has been teaching universities in Norway, USA, and Denmark, and currently teaches computer animation at IT University of Copenhagen, Denmark. Holmen's present research project is Digital Comix, evolution of comics and animation as New Media.
Subversive or Submissive? User-Produced Flash Cartoons and Television Animation
Abstract: User-produc
ed media are often presented as political reform, moving the locus of control away from mass media and toward the individual. The same is true for Flash animation or Flashimation. The Flash software allows user-producers to decrease production time while increasing their individual control. Thus, it is assumed that Flashimation is a subversive form that challenges the dominance of mass media, but this assumption ignores the complex, sometimes hegemonic relationships between Flashimation and television. This paper examines these relationships and questions whether Flashimation truly is subversive, or if aesthetic convergence and remediation reasserts television’s position as society’s dominant cultural form.
Biographical statement: Michael S. Daubs is a Media Studies PhD Candidate in the Faculty of Information and Media Studies at the University of Western Ontario in London, Ontario, Canada. His research interests include visual culture and aesthetics, convergence and remediation, and the democratic potential of user-produced media. His dissertation, entitled Rivalry and Allegiance: Aesthetic Remediation between Television and User-Produced Media, examines the relationship between television and user-produced media through case studies of animation and reality media. He previously earned a Master of Science in Informatics (Media Arts and Sciences) and a Bachelor of Arts in Telecommunications, both from Indiana University.
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?
