Craft as Critique in Experimental Animation

Husbands, Lilly

doi:10.1007/978-3-030-13943-8_3

Cited by 6 publications

(2 citation statements)

References 21 publications

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“…Husbands [12] references Robert Breer as an example of an experimental animator who brought physical objects to the gallery. As a former abstract painter, Robert Breer sought to merge animation's temporal aspect with abstract painting's materiality by presenting animated optical toys such as flipbooks, folioscopes, and mutoscopes in gallery settings [10].…”

Section: Liberating Motion From Two-dimensional Spacementioning

confidence: 99%

“…As a former abstract painter, Robert Breer sought to merge animation's temporal aspect with abstract painting's materiality by presenting animated optical toys such as flipbooks, folioscopes, and mutoscopes in gallery settings [10]. According to Husbands, interacting with these optical toys allows viewers to "examine the skilled execution of a portion of an animated work, and they also have the potential to reveal the incredible amount of labor that goes into the animation process" [12].…”

Section: Liberating Motion From Two-dimensional Spacementioning

confidence: 99%

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Touchable Animation: Touching the Sound in Expanded Animation

Yekti,

Winantyo

2024

Atlantis Highlights in Social Sciences, Education and Humanities

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Motion, visuals, and sound constitute the primary attractions in the realms of film and animation. Experimental artists leverage abstract imagery and sound in their animations to convey their emotions. However, the motion depicted on a two-dimensional screen limits the full embodiment of the viewer's experience. As a result, expanded animation and kinetic elements have emerged as alternative avenues for experimental artists aiming to extend the auditory and visual dimensions beyond the confines of the 2D screen. This article delves into the concept of corporeal experience as it relates to sound within the context of expanded animation, employing a kinetic and haptic approach. The research's primary objective is to explore the intricate relationship between sound, touch, and visuals in kinetic-based expanded animation. This exploration is informed by a review of existing literature, artistic analyses, and the author's own studio practice. This paper represents a significant step in an ongoing investigation into the development of methodologies for incorporating tactile elements into expanded animation projects.

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Section: Liberating Motion From Two-dimensional Spacementioning

confidence: 99%

Section: Liberating Motion From Two-dimensional Spacementioning

confidence: 99%

Touchable Animation: Touching the Sound in Expanded Animation

Yekti,

Winantyo

2024

Atlantis Highlights in Social Sciences, Education and Humanities

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Music Visualization and Medium Expansion

Taberham¹

2022

A Companion to Experimental Cinema

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Young artivists, social change and media literacy: Shifting the field through South-to-South connections in Kenya and Brazil

Rega,

Medrado,

Callus

2024

Global Studies of Childhood

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This article discusses the interplay between artivism and media literacy in plural Global South(s) and its fight against marginalisation. It reflects on the production of an experimental animation Portrait of Marielle by Kenyan and Brazilian young media activists and artivists. This animated film honours the legacy of Marielle Franco, a Brazilian human rights activist and politician murdered in 2018. The article explores how creative media practices can be used as tools for youth movement building in the Global South. It achieves this by analysing creative experiences that take place in ‘third spaces’ and considering how the application of creative techniques can establish South-to-South dialogical spaces for young people and mobilise memories and histories. Embracing an ethnographic approach, we trace the journeys of these artivists and their animated film, analysing the creative production processes and the exhibition of the animations’ frames in venues across both countries. This enables us to document the development of a collective ‘we’, nurtured by a dialogue between the young artivists and mediated by the creative artefacts, moving from individual to collective experiences. By following these journeys, we unpack how the spaces created by these interactions interplay with an agentive theory of change for media literacy, composed of four elements: Access, Awareness, Capability and Consequences. The focus is on the latter two: Capability, which involves young people using their media literacy for particular purposes in their lives, and Consequences, which occur when media literacy capabilities are combined with an active desire for a media environment that is conducive to equality and social justice. We suggest that working across these domains offers two important contributions to our field: a conceptual framework for digital and networked artivism that is intertwined with media literacy and a shift of the frames of reference for media literacy towards activism and social change.

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Craft as Critique in Experimental Animation

Cited by 6 publications

References 21 publications

Touchable Animation: Touching the Sound in Expanded Animation

Touchable Animation: Touching the Sound in Expanded Animation

Music Visualization and Medium Expansion

Young artivists, social change and media literacy: Shifting the field through South-to-South connections in Kenya and Brazil

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