In Max Hattler’s stereoscopic installation Vœrtex two-dimensional abstract animation is turned into immersive images with strong three-dimensional depth. Utilizing a two-screen, semi-Cave Automatic Virtual Environment, Vœrtex creates a unique viewing experience for the viewer, a hybrid space situated halfway between immersion-in-abstraction and the real world of the gallery space, allowing the viewer to be in two spaces simultaneously. This article discusses the technical set-up, production processes and stereoscopic techniques, including binocular colour rivalry and depth displacements employed in Vœrtex. This is followed by a discussion of Vœrtex in relation to the concept of lucidity and an audience study into viewers’ perception of the work. The hybrid set-up of Vœrtex, combining both stereoscopic and interactive visual texts, allows for a sense of creative inspiration and inquiry into the dreaming mind, and participants can actively choose to explore different aspects of their perception by oscillating between two divergent states: an immersive dream sensation and a sense of being anchored in the real world.
{"title":"Into the Vœrtex: Case study of a stereoscopic abstract animation installation","authors":"Max Hattler, Terrie Man-Chi Cheung","doi":"10.1386/ap3_000026_1","DOIUrl":"https://doi.org/10.1386/ap3_000026_1","url":null,"abstract":"In Max Hattler’s stereoscopic installation Vœrtex two-dimensional abstract animation is turned into immersive images with strong three-dimensional depth. Utilizing a two-screen, semi-Cave Automatic Virtual Environment, Vœrtex creates a unique viewing experience for the viewer, a hybrid space situated halfway between immersion-in-abstraction and the real world of the gallery space, allowing the viewer to be in two spaces simultaneously. This article discusses the technical set-up, production processes and stereoscopic techniques, including binocular colour rivalry and depth displacements employed in Vœrtex. This is followed by a discussion of Vœrtex in relation to the concept of lucidity and an audience study into viewers’ perception of the work. The hybrid set-up of Vœrtex, combining both stereoscopic and interactive visual texts, allows for a sense of creative inspiration and inquiry into the dreaming mind, and participants can actively choose to explore different aspects of their perception by oscillating between two divergent states: an immersive dream sensation and a sense of being anchored in the real world.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124335605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Contemporary animation is typically viewed in a digital format which is subject to the mechanics of cinema: a frame-by-frame presentation of a sequence of images (at a constant rate) so that the illusion of continuous motion is experienced by the viewer. In this article I argue that by altering the way we view animation, we could influence the viewer’s experience and understanding of an animated work. The research is a culmination of my Ph.D. by creative practice, which unpacks modes of viewing practice through the creation of an experimental short film and the presentation of an art exhibition that reveal movement for the viewer in a deliberately playful manner. The short film expands on the experimental animation technique known as strata-stencil that uses a multiple layered approach, revealing the consecutive frames of a movement on every frame. Drawing on techniques of nineteenth-century chronophotography, my work focuses on the representation of movement in classic cartoon-style animation and reveals the construction of animation for the viewer through static and animated sequences. My interest lies in the imperceptible moments that are lost in standard viewing practice, forcing the viewer to question their understanding of a movement and the aesthetics involved in seeing more than one frame at a time. I propose that we look at the individual animation frames not in isolation but simultaneously as sequences, so that the notion of seriality informs the viewer’s understanding of animated movement as a distinct aesthetic experience. In doing this, I challenge the viewer to look at animation in a different way and create an innovative viewing experience.
{"title":"Revealing the unseen: Altering modes of viewing practice to explore the aesthetics of seeing more than one frame at a time","authors":"Bronwyn Horne","doi":"10.1386/ap3_000027_1","DOIUrl":"https://doi.org/10.1386/ap3_000027_1","url":null,"abstract":"Contemporary animation is typically viewed in a digital format which is subject to the mechanics of cinema: a frame-by-frame presentation of a sequence of images (at a constant rate) so that the illusion of continuous motion is experienced by the viewer. In this article I argue that by altering the way we view animation, we could influence the viewer’s experience and understanding of an animated work. The research is a culmination of my Ph.D. by creative practice, which unpacks modes of viewing practice through the creation of an experimental short film and the presentation of an art exhibition that reveal movement for the viewer in a deliberately playful manner. The short film expands on the experimental animation technique known as strata-stencil that uses a multiple layered approach, revealing the consecutive frames of a movement on every frame. Drawing on techniques of nineteenth-century chronophotography, my work focuses on the representation of movement in classic cartoon-style animation and reveals the construction of animation for the viewer through static and animated sequences. My interest lies in the imperceptible moments that are lost in standard viewing practice, forcing the viewer to question their understanding of a movement and the aesthetics involved in seeing more than one frame at a time. I propose that we look at the individual animation frames not in isolation but simultaneously as sequences, so that the notion of seriality informs the viewer’s understanding of animated movement as a distinct aesthetic experience. In doing this, I challenge the viewer to look at animation in a different way and create an innovative viewing experience.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116035548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This editorial explores how advancements in the sphere of practice-based research, and university programmes supporting this realm of inquiry, have contributed to an increased confidence in the ways in which animation practitioners discuss and reflect upon their work, drawing upon a range of theories and methodologies. References are made to Paul Ward’s essay ‘Some thoughts on practice-theory relationships in animation studies’ (2006), and there is a consideration of his preference for a ‘weak classification’ approach – one that acknowledges animation’s rich eclecticism – rather than maintain rigid boundaries. Ward’s ideas are informed by sociologist Basil Bernstein’s theories, and he also draws upon Mike Wayne’s study of media production practices, to advocate for the ‘critical practitioner’, as compared to the more circumscribed ‘reflexive’ – with a tendency to focus upon the minutiae of technology – and ‘theoretical’ practitioner, who dwells upon the importance of the text. Instead, the ‘critical practitioner’ possesses the skills to reflect upon what they do and why, and contextualise the work from a social, historical and political perspective. Further developments in animation studies over the last fifteen years have included an increase in texts that thoughtfully yoke both practice and theory, including essays by Claudia Hart, Paul Wells and Johnny Hardstaff’s book Re-Imagining Animation: The Changing Face of Moving Image (2008) and Aylish Wood’s essay ‘Behind the scenes: A study of Autodesk Maya’ (2014). The editorial provides details about the essays contained within this particular edition, and the ways in which they evidence the thinking of the ‘critical practitioner’, by drawing upon a diverse range of sources, and integrating a perceptive discussion of both practice and theory.
{"title":"Practice, theory and the animation studies continuum","authors":"Miriam Harris, Samantha Moore","doi":"10.1386/ap3_000024_2","DOIUrl":"https://doi.org/10.1386/ap3_000024_2","url":null,"abstract":"This editorial explores how advancements in the sphere of practice-based research, and university programmes supporting this realm of inquiry, have contributed to an increased confidence in the ways in which animation practitioners discuss and reflect upon their work, drawing upon a range of theories and methodologies. References are made to Paul Ward’s essay ‘Some thoughts on practice-theory relationships in animation studies’ (2006), and there is a consideration of his preference for a ‘weak classification’ approach – one that acknowledges animation’s rich eclecticism – rather than maintain rigid boundaries. Ward’s ideas are informed by sociologist Basil Bernstein’s theories, and he also draws upon Mike Wayne’s study of media production practices, to advocate for the ‘critical practitioner’, as compared to the more circumscribed ‘reflexive’ – with a tendency to focus upon the minutiae of technology – and ‘theoretical’ practitioner, who dwells upon the importance of the text. Instead, the ‘critical practitioner’ possesses the skills to reflect upon what they do and why, and contextualise the work from a social, historical and political perspective.\u0000 Further developments in animation studies over the last fifteen years have included an increase in texts that thoughtfully yoke both practice and theory, including essays by Claudia Hart, Paul Wells and Johnny Hardstaff’s book Re-Imagining Animation: The Changing Face of Moving Image (2008) and Aylish Wood’s essay ‘Behind the scenes: A study of Autodesk Maya’ (2014). The editorial provides details about the essays contained within this particular edition, and the ways in which they evidence the thinking of the ‘critical practitioner’, by drawing upon a diverse range of sources, and integrating a perceptive discussion of both practice and theory.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115528175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Animation as a site-specific intervention in historic settings draws on the powerful affective potentials of both medium and place, enabling long past events to be experienced in immersive, intimate ways. In particular, I examine here my hand-drawn animated film He Ram, permanently installed at the site of Gandhi’s assassination, now a museum in New Delhi. In this context, the multi-layered animated presence of Gandhi becomes at once nostalgic and eerie, evoking a figure’s potential to haunt space and time, piercing the present to connect us to the last walk he took and the last breath he drew. An emotionally charged public memorial, this is also where the voice and views of government are palpable. At stake remain the inheritance and transmission of our past/s. In these circumstances, animation affords aesthetic strategies to engage a range of audiences across age, class, caste and linguistic boundaries, wielding a degree of agency in the mediation of our collective imaginations. In doing so, the film gestures towards a more fluid, interdisciplinary understanding of the ever-emerging relations between histories and our present.
{"title":"Time-travelling imaginaries: Animation at the memorial museum","authors":"Anitha Balachandran","doi":"10.1386/ap3_000025_1","DOIUrl":"https://doi.org/10.1386/ap3_000025_1","url":null,"abstract":"Animation as a site-specific intervention in historic settings draws on the powerful affective potentials of both medium and place, enabling long past events to be experienced in immersive, intimate ways. In particular, I examine here my hand-drawn animated film He Ram, permanently installed at the site of Gandhi’s assassination, now a museum in New Delhi. In this context, the multi-layered animated presence of Gandhi becomes at once nostalgic and eerie, evoking a figure’s potential to haunt space and time, piercing the present to connect us to the last walk he took and the last breath he drew. An emotionally charged public memorial, this is also where the voice and views of government are palpable. At stake remain the inheritance and transmission of our past/s. In these circumstances, animation affords aesthetic strategies to engage a range of audiences across age, class, caste and linguistic boundaries, wielding a degree of agency in the mediation of our collective imaginations. In doing so, the film gestures towards a more fluid, interdisciplinary understanding of the ever-emerging relations between histories and our present.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114032702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research provides an initial investigation into strategies for creating reference performances for animation. The term reference performance has various meanings in animation production; in this article, I use it to refer to a recording of a person performing physical and emotional cues, from which performance elements of an animated character may be derived. Beginning with Max Fleischer’s invention of the rotoscope process in 1915, animation studios began to record actors as a means to inject greater believability into the movements and expressions of animated characters. Throughout this article, I reference Pallant’s understanding of ‘believability’ as a ‘[reconciliation of] realism within the animated form’. While various methods exist today to capture reference performances, it remains axiomatic that the utility of the reference is only as good as a performer’s ability to produce the desired performance. While seasoned actors would seem ideally suited to the task, large-scale animation studios frequently require animators to film their own reference performances, even though the animators may have limited (or non-existent) acting experience. By comparison, smaller studios and independent productions may not have the time or ability for each animator to self-produce reference; instead, they may opt for an animation director/supervisor to record reference for every character, to work from clips available through online video sites (e.g. YouTube) or to forgo video reference altogether. This research examines the potential for acting experience to enhance reference performances and specifically explores three different preconditions of experience when producing animation reference: an actor with no animation experience, an animator with no acting experience and an academic with both acting and animation experience. As an additional site of inquiry, this research explores the use of head-mounted cameras in the production of animation reference as a means to more fully and reliably capture the research participants’ expressive range. This research engages with ethnographic and autoethnographic research models to compare the creative choices of each participant and their ability to produce meaningful expressions, gestures and body movements as reference performance for a short, auteur 3D animated film in a predominantly realistic style. From these analyses, the maximal performance utility of each participant is gauged. By extension, this limited data provides an initial suggestion that acting experience is an essential precondition when producing useful reference performances for the type and style of animation explored in this study. Furthermore, this article relates the acting strategies of its participants to the acting theory of Ivana and the theory of emotional effector patterns as described by . This research suggests that these practice-informed performance theories may prove useful to animator when producing their own reference, regardl
{"title":"The animator’s sensorium: The impact of acting and animation experience on creating reference performances","authors":"J. Kennedy","doi":"10.1386/ap3_000028_1","DOIUrl":"https://doi.org/10.1386/ap3_000028_1","url":null,"abstract":"This research provides an initial investigation into strategies for creating reference performances for animation. The term reference performance has various meanings in animation production; in this article, I use it to refer to a recording of a person performing physical and emotional cues, from which performance elements of an animated character may be derived. Beginning with Max Fleischer’s invention of the rotoscope process in 1915, animation studios began to record actors as a means to inject greater believability into the movements and expressions of animated characters. Throughout this article, I reference Pallant’s understanding of ‘believability’ as a ‘[reconciliation of] realism within the animated form’. While various methods exist today to capture reference performances, it remains axiomatic that the utility of the reference is only as good as a performer’s ability to produce the desired performance. While seasoned actors would seem ideally suited to the task, large-scale animation studios frequently require animators to film their own reference performances, even though the animators may have limited (or non-existent) acting experience. By comparison, smaller studios and independent productions may not have the time or ability for each animator to self-produce reference; instead, they may opt for an animation director/supervisor to record reference for every character, to work from clips available through online video sites (e.g. YouTube) or to forgo video reference altogether. This research examines the potential for acting experience to enhance reference performances and specifically explores three different preconditions of experience when producing animation reference: an actor with no animation experience, an animator with no acting experience and an academic with both acting and animation experience. As an additional site of inquiry, this research explores the use of head-mounted cameras in the production of animation reference as a means to more fully and reliably capture the research participants’ expressive range. This research engages with ethnographic and autoethnographic research models to compare the creative choices of each participant and their ability to produce meaningful expressions, gestures and body movements as reference performance for a short, auteur 3D animated film in a predominantly realistic style. From these analyses, the maximal performance utility of each participant is gauged. By extension, this limited data provides an initial suggestion that acting experience is an essential precondition when producing useful reference performances for the type and style of animation explored in this study. Furthermore, this article relates the acting strategies of its participants to the acting theory of Ivana and the theory of emotional effector patterns as described by . This research suggests that these practice-informed performance theories may prove useful to animator when producing their own reference, regardl","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121830557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study investigates the relationships between ethnographic study and animation practice, focusing on the Brazilian martial art, capoeira, often referred to as a dance, fight and game. This approach was adopted to explore the ways animation can be placed in relation to both historical and more recent critical theory. A local capoeira community group based in South East London participated in the study for a period of twelve months. The respondents were a combination of teachers and learners, and semi-structured interviews in the form of a conversational style were conducted with several participants. The Capoeira music was composed remotely in collaboration with a capoeira practitioner and a professional berimbau instrumentalist, based in Rio de Janeiro, Brazil. Additional music was recorded in a studio in London by main subject of this study, Professor Saruê. Practice-based investigations are currently in development, consisting of footage recorded on 16 mm black-and-white negative film. Direct animation and scratch film were created using 16 mm black leader and 35 mm film, forming a series of animated experiments. The ethnographic methods later revealed a strong connection between capoeira and the Brazilian religion of Candomblé, and attempts to determine how animation can be used to represent the phenomenon of the spirit. Evaluation and reflection of animation practice revealed a strong relationship between ethnography and animation, a relatively new area with promising developments and scope for further research within visual anthropology. Further research is needed to identify other factors that could strengthen the effectiveness of this methodology. The practice-based components of the overall study revealed the potential for in depth fieldwork, overseas travel and longitudinal study spanning the space of one to two years. This would expand a relatively small yet emerging area of academic research.
{"title":"Capoeira: An exploration of animism and the representation of the spirit through ethnographic animation","authors":"M. Martins","doi":"10.1386/ap3_000016_1","DOIUrl":"https://doi.org/10.1386/ap3_000016_1","url":null,"abstract":"This study investigates the relationships between ethnographic study and animation practice, focusing on the Brazilian martial art, capoeira, often referred to as a dance, fight and game. This approach was adopted to explore the ways animation can be placed in relation to both historical\u0000 and more recent critical theory. A local capoeira community group based in South East London participated in the study for a period of twelve months. The respondents were a combination of teachers and learners, and semi-structured interviews in the form of a conversational style were conducted\u0000 with several participants. The Capoeira music was composed remotely in collaboration with a capoeira practitioner and a professional berimbau instrumentalist, based in Rio de Janeiro, Brazil. Additional music was recorded in a studio in London by main subject of this study, Professor Saruê.\u0000 Practice-based investigations are currently in development, consisting of footage recorded on 16 mm black-and-white negative film. Direct animation and scratch film were created using 16 mm black leader and 35 mm film, forming a series of animated experiments. The ethnographic\u0000 methods later revealed a strong connection between capoeira and the Brazilian religion of Candomblé, and attempts to determine how animation can be used to represent the phenomenon of the spirit. Evaluation and reflection of animation practice revealed a strong relationship between\u0000 ethnography and animation, a relatively new area with promising developments and scope for further research within visual anthropology. Further research is needed to identify other factors that could strengthen the effectiveness of this methodology. The practice-based components of the overall\u0000 study revealed the potential for in depth fieldwork, overseas travel and longitudinal study spanning the space of one to two years. This would expand a relatively small yet emerging area of academic research.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126969978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Let me start with a confession. Though for years, I have had an interest in animation and have observed students engaged in puppet, paper and plasticine processes of animation by analogue and digital means, I have myself never constructed an animated sequence. Why, then, have I been invited to write a contribution to this collection? For philosophical and political reasons related to a lifelong engagement with arts and screen media practices and education, I have developed expertise in what some call artistic research and I prefer to call practice as research (PaR). In particular, I have developed an epistemological model for PaR, which sets three modes of knowing ‐ know-how, know-what and know-that ‐ in dynamic inter-relation. In what follows, I place my specialist terms in italics to mark them out.
{"title":"Practice as research in animation: A provisional engagement","authors":"Robin Nelson","doi":"10.1386/ap3_000022_1","DOIUrl":"https://doi.org/10.1386/ap3_000022_1","url":null,"abstract":"Let me start with a confession. Though for years, I have had an interest in animation and have observed students engaged in puppet, paper and plasticine processes of animation by analogue and digital means, I have myself never constructed an animated sequence. Why, then, have I been\u0000 invited to write a contribution to this collection? For philosophical and political reasons related to a lifelong engagement with arts and screen media practices and education, I have developed expertise in what some call artistic research and I prefer to call practice as research (PaR). In\u0000 particular, I have developed an epistemological model for PaR, which sets three modes of knowing ‐ know-how, know-what and know-that ‐ in dynamic inter-relation. In what follows, I place my specialist terms in italics to mark them out.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127776701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Department of Digital Creative Industries of the Haute École Albert Jaquard in Belgium is officially designated as a technical school, as opposed to, for instance, an art school or a university. As such, the type of student attracted to the school generally fit the style of teaching offered, in that they tend to show a low interest in theory and are mostly eager to acquire practical skills. In recent years, two pedagogical experiments have been conducted to try and bridge that practice vs. theory gap. One with first-year students to try and raise their motivation towards learning art history, the other with fourth-year video games specialization students, trying to introduce reflexive practices in their skills and intuitional approach, which at this point in their course is strongly ingrained. In both cases, the use of either gamification or serious gaming helped the students access knowledge to which they were usually initially reticent.
位于比利时的高级学校École Albert Jaquard的数字创意产业系被官方指定为一所技术学校，而不是艺术学校或大学。因此，被学校吸引的学生类型通常符合学校提供的教学风格，因为他们往往对理论不感兴趣，而大多渴望获得实践技能。近年来，进行了两项教学实验，试图弥合实践与理论之间的差距。一个是一年级的学生，试图提高他们学习艺术史的动机，另一个是四年级电子游戏专业的学生，试图在他们的技能和直觉方法中引入反思性实践，这在他们的课程中是根深蒂固的。在这两种情况下，游戏化或严肃游戏的使用都有助于学生获得他们最初通常不愿接触的知识。
{"title":"It is all fun and games: Using gamification and serious gaming to bridge the practice‐theory gap in a creative industries school","authors":"S. Collignon, Thibaut Sana","doi":"10.1386/ap3_000019_1","DOIUrl":"https://doi.org/10.1386/ap3_000019_1","url":null,"abstract":"The Department of Digital Creative Industries of the Haute École Albert Jaquard in Belgium is officially designated as a technical school, as opposed to, for instance, an art school or a university. As such, the type of student attracted to the school generally fit the style\u0000 of teaching offered, in that they tend to show a low interest in theory and are mostly eager to acquire practical skills. In recent years, two pedagogical experiments have been conducted to try and bridge that practice vs. theory gap. One with first-year students to try and raise their motivation\u0000 towards learning art history, the other with fourth-year video games specialization students, trying to introduce reflexive practices in their skills and intuitional approach, which at this point in their course is strongly ingrained. In both cases, the use of either gamification or serious\u0000 gaming helped the students access knowledge to which they were usually initially reticent.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125231914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Animation, both as an art form and a storytelling medium, offers a variety of creative avenues for self-expression. The animator’s cultural background, depending on the individual, can have a strong influence on their practice, which can be elicited from their stylistic choices as well as their approach to storytelling and technique. This article discusses how an autoethnographic reflection into animation practice, in particular the early stage of idea formation, has uncovered questions about cultural identity and sense of belonging when living abroad. It explores the role of nostalgia in the creative process and questions whether the feeling of homesickness can influence ideas and act as a spur to create work inspired by the animator’s culture and heritage. The article discusses three short animations produced by the lead author and the thought process that led to the decision to base them on Bulgarian folklore, music and literature while living in the United Kingdom.
{"title":"Cultural roots and nostalgia: Exploring cultural identity and sense of belonging through animation practice","authors":"Eleonora Asparuhova, M. Patera","doi":"10.1386/ap3_000017_1","DOIUrl":"https://doi.org/10.1386/ap3_000017_1","url":null,"abstract":"Animation, both as an art form and a storytelling medium, offers a variety of creative avenues for self-expression. The animator’s cultural background, depending on the individual, can have a strong influence on their practice, which can be elicited from their stylistic choices\u0000 as well as their approach to storytelling and technique. This article discusses how an autoethnographic reflection into animation practice, in particular the early stage of idea formation, has uncovered questions about cultural identity and sense of belonging when living abroad. It explores\u0000 the role of nostalgia in the creative process and questions whether the feeling of homesickness can influence ideas and act as a spur to create work inspired by the animator’s culture and heritage. The article discusses three short animations produced by the lead author and the thought\u0000 process that led to the decision to base them on Bulgarian folklore, music and literature while living in the United Kingdom.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114464079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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