The typical research project ostensibly begins with a question. The notion of establishing ‘questions worth answering’ which can be satisfied with confirmable answers is an orientation originally adopted from the sciences, and highlights the practical imposition of the academy to create rigor and consistency. Brad Haseman has suggested that an alternative to the posing of questions for those pursuing practice-based research in the creative arts is to begin with an ‘enthusiasm of practice’ from which useful knowledge may be generated, but returns to the need for the researcher to ultimately articulate a problem (if not a question) to pass the research credibility test. Is the illocutionary act of this retrospective ‘probleming’ not the same as a question? As the question demands an answer, the problem demands a solution. Perhaps this is the defining edge between practice as research and, simply, practice. The alignment of problem and solution (or question and answer) is suspiciously neat, and the form of language demands that they match neatly. Leaning on the experience of my own practice-based Ph.D. in creative media, this article will describe the positioning of improvisational animation production as a mode of practice-enthusiasm that can serve both as methodology and as epistemology for knowledge production in animation research (and related practices). I will discuss potential research questions related to improvisation for animator-researchers, and suggest that this mode of practice can yield useful, verifiable knowledge without recourse to the question‐answer or the problem‐solution formulation. In fact, the imposition of these, even post hoc, may undermine the research value of improvised practice and its epistemological clarity. The enthusiasm in this case may be the lack of answers or solutions that (at least linguistically) terminate the very origin of the enthusiasm for the practice.
{"title":"A problem with questions: Improvisation and unforeseen epistemology in animation practice","authors":"Andrew Buchanan","doi":"10.1386/ap3_000014_1","DOIUrl":"https://doi.org/10.1386/ap3_000014_1","url":null,"abstract":"The typical research project ostensibly begins with a question. The notion of establishing ‘questions worth answering’ which can be satisfied with confirmable answers is an orientation originally adopted from the sciences, and highlights the practical imposition of the academy\u0000 to create rigor and consistency. Brad Haseman has suggested that an alternative to the posing of questions for those pursuing practice-based research in the creative arts is to begin with an ‘enthusiasm of practice’ from which useful knowledge may be generated, but returns to the\u0000 need for the researcher to ultimately articulate a problem (if not a question) to pass the research credibility test. Is the illocutionary act of this retrospective ‘probleming’ not the same as a question? As the question demands an answer, the problem demands a solution. Perhaps\u0000 this is the defining edge between practice as research and, simply, practice. The alignment of problem and solution (or question and answer) is suspiciously neat, and the form of language demands that they match neatly. Leaning on the experience of my own practice-based Ph.D. in creative media,\u0000 this article will describe the positioning of improvisational animation production as a mode of practice-enthusiasm that can serve both as methodology and as epistemology for knowledge production in animation research (and related practices). I will discuss potential research questions related\u0000 to improvisation for animator-researchers, and suggest that this mode of practice can yield useful, verifiable knowledge without recourse to the question‐answer or the problem‐solution formulation. In fact, the imposition of these, even post hoc, may undermine the research value\u0000 of improvised practice and its epistemological clarity. The enthusiasm in this case may be the lack of answers or solutions that (at least linguistically) terminate the very origin of the enthusiasm for the practice.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"5 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":"114435990","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}
Laurence Arcadias, R. Corbet, D. McKenna, Isabella Potenziani
Art and science are different ways of exploring the world, but together they have the potential to be thought-provoking, facilitate a science‐society dialogue, raise public awareness of science and develop an understanding of art. For several years, we have been teaching an astro-animation class at the Maryland Institute College of Art as a collaboration between students and NASA scientists. Working in small groups, the students create short animations based on the research of the scientists who are going to follow the projects as mentors. By creating these animations, students bring the power of their imagination to see the research of the scientists through a different lens. Astro-animation is an undergraduate-level course jointly taught by an astrophysicist and an animator. In this article, we present the motivation behind the class, describe the details of how it is carried out and discuss the interactions between artists and scientists. We describe how such a programme offers an effective way for art students, not only to learn about science but to have a glimpse of ‘science in action’. The students have the opportunity to become involved in the process of science as artists, as observers first and potentially through their own art research. Every year, one or more internships at NASA Goddard Space Flight Center have been available for our students in the summer. Two students describe their experiences undertaking these internships and how science affects their creation of animations for this programme and in general. We also explain the genesis of our astro-animation programme, how it is taught in our animation department and we present the highlights of an investigation of the effectiveness of this programme we carried out with the support of an NEA research grant. In conclusion, we discuss how the programme may grow in new directions, such as contributing to informal STE(A)M learning.
{"title":"Astro-animation: A case study of art and science education","authors":"Laurence Arcadias, R. Corbet, D. McKenna, Isabella Potenziani","doi":"10.1386/ap3_000018_1","DOIUrl":"https://doi.org/10.1386/ap3_000018_1","url":null,"abstract":"Art and science are different ways of exploring the world, but together they have the potential to be thought-provoking, facilitate a science‐society dialogue, raise public awareness of science and develop an understanding of art. For several years, we have been teaching an astro-animation\u0000 class at the Maryland Institute College of Art as a collaboration between students and NASA scientists. Working in small groups, the students create short animations based on the research of the scientists who are going to follow the projects as mentors. By creating these animations, students\u0000 bring the power of their imagination to see the research of the scientists through a different lens. Astro-animation is an undergraduate-level course jointly taught by an astrophysicist and an animator. In this article, we present the motivation behind the class, describe the details of how\u0000 it is carried out and discuss the interactions between artists and scientists. We describe how such a programme offers an effective way for art students, not only to learn about science but to have a glimpse of ‘science in action’. The students have the opportunity to become involved\u0000 in the process of science as artists, as observers first and potentially through their own art research. Every year, one or more internships at NASA Goddard Space Flight Center have been available for our students in the summer. Two students describe their experiences undertaking these internships\u0000 and how science affects their creation of animations for this programme and in general. We also explain the genesis of our astro-animation programme, how it is taught in our animation department and we present the highlights of an investigation of the effectiveness of this programme we carried\u0000 out with the support of an NEA research grant. In conclusion, we discuss how the programme may grow in new directions, such as contributing to informal STE(A)M learning.","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":"131586991","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 article looks at how Deep Waters, a commissioned site-specific installation for three screens, animation and sound, was shaped by the 2020 travel restrictions imposed by the COVID-19 pandemic. Rather than drawing a halt, the work brought forth a Practice as Research (PaR) methodology enmeshed in technologies of virtual reality (VR) but extending outside of the VR headset for its exhibition. The processes and subsequent documentation of Deep Waters are explored here through Vilém Flusser’s concept of the ‘apparatus’, while asking the questions: how can an animation practice evade pandemic restrictions through moving in-between multiple screens, frames and windows? What may the documentation of an ephemeral praxis reveal, beyond acting as evidence that the work took place?
{"title":"Walking from physical to digital within Deep Waters","authors":"Katerina Athanasopoulou","doi":"10.1386/ap3_000023_1","DOIUrl":"https://doi.org/10.1386/ap3_000023_1","url":null,"abstract":"This article looks at how Deep Waters, a commissioned site-specific installation for three screens, animation and sound, was shaped by the 2020 travel restrictions imposed by the COVID-19 pandemic. Rather than drawing a halt, the work brought forth a Practice as Research (PaR)\u0000 methodology enmeshed in technologies of virtual reality (VR) but extending outside of the VR headset for its exhibition. The processes and subsequent documentation of Deep Waters are explored here through Vilém Flusser’s concept of the ‘apparatus’, while asking\u0000 the questions: how can an animation practice evade pandemic restrictions through moving in-between multiple screens, frames and windows? What may the documentation of an ephemeral praxis reveal, beyond acting as evidence that the work took place?","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"164 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":"114181210","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}
In her article ‘Vital methodologies: Live methods, mobile art and research-creation’ (2015), Mimi Sheller posits the question: ‘How can “outcome” capture process?’ I take this quote as my starting point in this article but, losing the ‘how’, I ask the different question: ‘Can outcome capture process?’ This question is important for students taking or contemplating taking a Ph.D. by arts practice and their supervisors and assessors, as the answer might be ‘yes’ for a traditional Ph.D. by thesis, but ‘no’ for practice as research (PaR). I argue that in PaR knowledge production is to be found in the process, rather than in the end result of making, and that knowledge production might therefore be more readily demonstrated in PaR without recourse to explanatory written texts, if Ph.D. assessment considered process equally with or, in some cases, instead of outcome. I also argue that the repetitive, physically arduous and often time-consuming nature of many animation processes amplify the relevance of this question for those involved or interested in animation PaR. In addition to ‘practice as research’ there are many other titles in circulation, such as ‘creative arts research’, ‘performance research’ and ‘research creation’. The differences are not merely nominal but can indicate theoretical differences, for instance, Candy and Edmonds adopt the term ‘practice based’, arguing that the term ‘practice as research’ ‘unhelpfully conflates the two’. I have adopted Robin Nelson’s abbreviation, PaR, for brevity in this document.
{"title":"Knowledge production as process in arts practice as research","authors":"S. Pearce","doi":"10.1386/ap3_000015_1","DOIUrl":"https://doi.org/10.1386/ap3_000015_1","url":null,"abstract":"In her article ‘Vital methodologies: Live methods, mobile art and research-creation’ (2015), Mimi Sheller posits the question: ‘How can “outcome” capture process?’ I take this quote as my starting point in this article but, losing the ‘how’,\u0000 I ask the different question: ‘Can outcome capture process?’ This question is important for students taking or contemplating taking a Ph.D. by arts practice and their supervisors and assessors, as the answer might be ‘yes’ for a traditional Ph.D. by thesis, but ‘no’\u0000 for practice as research (PaR). I argue that in PaR knowledge production is to be found in the process, rather than in the end result of making, and that knowledge production might therefore be more readily demonstrated in PaR without recourse to explanatory written texts, if Ph.D. assessment\u0000 considered process equally with or, in some cases, instead of outcome. I also argue that the repetitive, physically arduous and often time-consuming nature of many animation processes amplify the relevance of this question for those involved or interested in animation PaR. In addition to ‘practice\u0000 as research’ there are many other titles in circulation, such as ‘creative arts research’, ‘performance research’ and ‘research creation’. The differences are not merely nominal but can indicate theoretical differences, for instance, Candy and Edmonds\u0000 adopt the term ‘practice based’, arguing that the term ‘practice as research’ ‘unhelpfully conflates the two’. I have adopted Robin Nelson’s abbreviation, PaR, for brevity in this document.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"61 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":"134092971","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 article addresses ‘practice as research’ in animation, arguing that practictioners often find it problematic to ‘theorize’ and write about their work in conventional academic language and contexts, and that new strategies are required to enable practitioners to undertake this task. Using Batman: The Animated Series as a touchstone, the discussion suggests that new ‘languages’ should evolve from within practice, drawing upon ‘poli-vocal’ and ‘multi-register’ models of inclusive views and concepts, the definition of ‘micro-narratives’, and working as part of transdisciplinary applications.
{"title":"Batman’s theories and attitudes: ‘Re-positioning’ practice as research","authors":"P. Wells","doi":"10.1386/ap3_000021_1","DOIUrl":"https://doi.org/10.1386/ap3_000021_1","url":null,"abstract":"This article addresses ‘practice as research’ in animation, arguing that practictioners often find it problematic to ‘theorize’ and write about their work in conventional academic language and contexts, and that new strategies are required to enable practitioners\u0000 to undertake this task. Using Batman: The Animated Series as a touchstone, the discussion suggests that new ‘languages’ should evolve from within practice, drawing upon ‘poli-vocal’ and ‘multi-register’ models of inclusive views and concepts, the\u0000 definition of ‘micro-narratives’, and working as part of transdisciplinary applications.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"29 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":"121663766","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}
‘Doozy deconstructed’ documents the research and animation production processes of artist-filmmaker Richard Squires’s debut feature Doozy. Part creative documentary, part essay film, the work utilizes a number of distinct techniques to interrogate the voice casting of American actor Paul Lynde as a series of Hanna Barbera villains in the late 1960s: an animated anti-hero Clovis ‐ designed by Squires and animated by Elroy Simmons ‐ who re-enacts alleged episodes in the life of the actor; a curious game show featuring specialist opinions from the worlds of animation, neurology, history and criminology; archival and documentary materials that reveal Lynde’s real-life circumstance. ‘Doozy deconstructed’ considers how sexuality is coded and performed by animated characters; Hollywood’s legacy of queer-coded villainy; the relationship between the actor’s real-life circumstance and his animated roles; Hanna Barbera’s motivations in casting the closeted actor and the experimental strategies Doozy employs to disseminate this research.
{"title":"Doozy deconstructed: Paul Lynde’s voicing of Hanna Barbera’s animated villains","authors":"Richard Squires","doi":"10.1386/ap3_000020_1","DOIUrl":"https://doi.org/10.1386/ap3_000020_1","url":null,"abstract":"‘Doozy deconstructed’ documents the research and animation production processes of artist-filmmaker Richard Squires’s debut feature Doozy. Part creative documentary, part essay film, the work utilizes a number of distinct techniques to interrogate the\u0000 voice casting of American actor Paul Lynde as a series of Hanna Barbera villains in the late 1960s: an animated anti-hero Clovis ‐ designed by Squires and animated by Elroy Simmons ‐ who re-enacts alleged episodes in the life of the actor; a curious game show featuring specialist\u0000 opinions from the worlds of animation, neurology, history and criminology; archival and documentary materials that reveal Lynde’s real-life circumstance. ‘Doozy deconstructed’ considers how sexuality is coded and performed by animated characters; Hollywood’s\u0000 legacy of queer-coded villainy; the relationship between the actor’s real-life circumstance and his animated roles; Hanna Barbera’s motivations in casting the closeted actor and the experimental strategies Doozy employs to disseminate this research.","PeriodicalId":147211,"journal":{"name":"Animation Practice, Process & Production","volume":"17 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":"127605897","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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