Introduction

Towards a Conceptual Framework for Abstracted Animation Derived from Motion Captured Movements

“…The abstract animation within this study aligns with the majority of Wells’s (1998) concept of experimental animation. However, like Harris et al (2019), I find some of the characteristics of Wells’s definition to be less relevant to modern experimental animation, specifically in the case of my own practice, the dynamics of musicality which is not a strong influence on my abstract animation, despite much of the early abstract experimental animations that inspired my own interest in animation coming from a relationship between music and animation. I also adhere to the concept that experimental animation exists within a spectrum of variable characteristics (or tendencies) where an artist work may pertain to different levels of each characteristic.…”

“…Each of Wells’s characteristics of experimental animation are presented on a continuum allowing for various degrees in that an animation might engage with each of the components of Wells’s definition (Harris et al, 2019). Harris et al build a working definition of experimental animation which incorporates wider and more modern examples of animated works precluding the need for experimental animation to have greater tendencies towards non-figurative forms, composed of multiple styles or the animation to be structured around music.…”

“…This was experimented with in the second version of the final animated outcome, where the data points were included in the final animation to offer context by forming a dialogue between viewer and artist, and revealing a key part of the generative system to the viewer. Exposing the mediums used in the creation of animation is common in experimental animation (Harris et al, 2019). When a 3D medium is used in the creation of a film, the reveals are normally achieved by showing an ‘in software view’ revealing aspects of the work normally reserved for the eyes of the artist such as the wireframe of the 3D objects and motion paths used in animation as seen in Black Lake (David O’Reilly, 2013) (Harris et al, 2019).…”

“…Exposing the mediums used in the creation of animation is common in experimental animation (Harris et al, 2019). When a 3D medium is used in the creation of a film, the reveals are normally achieved by showing an ‘in software view’ revealing aspects of the work normally reserved for the eyes of the artist such as the wireframe of the 3D objects and motion paths used in animation as seen in Black Lake (David O’Reilly, 2013) (Harris et al, 2019). These ‘in software views’ generally replace content already present within the animation, giving the audience a different view of the visual artefacts that already compose the animation.…”

“…The goal isn’t to unravel the hidden meaning set up by the artist, but rather respond to the experience imaginatively, as if the work was a mirror reflecting back what the spectator brings to the experience. (Harris et al, 2019: 25, emphasis original).…”