Journal articles on the topic 'Contemporary animation'
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1
Thesen, Thomas P. "Reviewing and Updating the 12 Principles of Animation." Animation 15, no. 3 (November 2020): 276–96. http://dx.doi.org/10.1177/1746847720969919.
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This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a refinement of the principles is required to accommodate a broader range of animation techniques. The great advantage of the 12 principles of animation is their simplicity and logic; however, they do not apply in their entirety (as the full set of 12) to hand-drawn digital animation, stop-motion animation, experimental or digitally animated media. Therefore, this article explores the initial 12 principles with additions and variations suggested by artists and scholars over the last 30 years, and concludes with a reorganization and expansion of most of the principles’ content, a breakdown into sub points and an updated terminology to reconceptualize the 12 principles of animation for all animation techniques.
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Singh, G. "Mixing audio and animation: contemporary synesthesia." IEEE Computer Graphics and Applications 21, no. 5 (July 2001): 4–5. http://dx.doi.org/10.1109/mcg.2001.946623.
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Li, Chenmei. "Influence of Hayao Miyazaki’s Animation on the Cross-Cultural Spread of Japanese Traditional Culture under the Background of 5G and Wireless Communication." Wireless Communications and Mobile Computing 2021 (October 11, 2021): 1–5. http://dx.doi.org/10.1155/2021/1640983.
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The development of 5G technology has brought tremendous changes to all areas of social life, especially in the external communication of culture; the increasing effect of 5G technology has become more obvious. All kinds of new media are constantly emerging, and the expression of cultural products is more diversified, and they also have certain characteristics of their own national cultural symbols. As one of the important representatives of Japanese modern and contemporary culture, animation works have made extremely outstanding contributions in promoting the spread of Japanese culture. Japanese animation is not only second to none in Asia but has also many fans all over the world. This article takes the characteristics of Hayao Miyazaki Animation’s external communication under the background of 5G as the starting point and deeply analyzes the impact of technological background changes on the external communication of Japanese traditional culture. Through data comparison, it is found that with the support of 5G technology, people’s habit of watching videos has changed a lot, from mobile terminals and short videos in the 4G era to large-screen projections and long animations in the 5G era. In a certain sense formed the return of the animation viewing form to the television era at the end of the last century. The number of video clicks on major websites shows that the number of Japanese animation products represented by Hayao Miyazaki Animation has increased significantly. Moreover, the age and occupation coverage of the audience is also very wide. The survey shows that people’s appreciation of Hayao Miyazaki’s animation at this stage is not only the attractiveness of the plot itself, but the deep meaning behind the animation is also the focus of attracting them. This gives Hayao Miyazaki Animation a higher level of appreciation value, that is, guiding countries that have suffered from the side effects of industrial civilization to rethink the relationship between ruleism and development speed. The research results suggest that the development of 5G technology has given traditional Japanese animation new characteristics in the dissemination of it and directly affected the cross-cultural dissemination effect of Japanese traditional culture. Discover the essence of respecting nature and observing rules in Japanese traditional culture to better serve our social development.
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Beckman, Karen. "Animation on Trial." Animation 6, no. 3 (November 2011): 259–75. http://dx.doi.org/10.1177/1746847711416568.
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This article first considers Kota Ezawa’s video installation, The Simpson Verdict within the broader context of the rising interest in animation on the contemporary art landscape. After exploring three trends within this proliferation of artists’ animation – works that animate moments from film history, works that animate ‘reality’, and works that use popular media such as cartoons, television and video games as source material, this article examines the difference between Ezawa’s work, which re-draws already overexposed live footage, and those documentaries that use animation as a supplementary visual tool when live footage does not and/or could not exist.
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Krivulya, Natalya Gennadyevna. "Problems of Animation Film Visual Anthropology." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 184–201. http://dx.doi.org/10.17816/vgik42-3184-201.
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The article studies animation as a sociocultural practice, a screen art and a research method within the trends of the contemporary visual anthropology. The author surveys the fundamental anthropology animation methods while working with ethnographical, folklore and culture material and the usage of reconstructive animation within the practice of social and visual anthropology.
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Son, Kook-Hwan, and Sung-Dae Park. "Artistic Achievement of Abstract Animation and Contemporary Significance." Journal of the Korea Contents Association 12, no. 6 (June 28, 2012): 132–41. http://dx.doi.org/10.5392/jkca.2012.12.06.132.
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Villén Higueras, Sergio Jesús, Xinjie Ma, and Francisco Javier Ruiz-del-Olmo. "Crowdfunding as a Catalyst for Contemporary Chinese Animation." Animation 15, no. 2 (July 2020): 130–44. http://dx.doi.org/10.1177/1746847720933792.
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This study explores the online financing forms and practices of contemporary Chinese animation cinema. The research focuses on the use of crowdfunding by this industry, and analyses three recent cases, One Hundred Thousand Bad Jokes (2014), Monkey King: Hero Is Back (2015), and Big Fish & Begonia (2016), selected based on the perspective of the high economic revenue earned and the artistic and creative singularity of these films, as well as the consideration of the undeniable influence of these productions on the imagination of new generations. Using an exploratory and descriptive research methodology, the authors uncover the main features of the production of animated films based on crowdfunding. The results show that obtaining funds is a secondary objective for these movies that mainly use crowdfunding as a promotional strategy for creating an active fan base and channelling their affective involvement towards the communicative interests of each project.
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Tai, Peng-yi. "The Animator as Inventor: Labour and the New Animated Machine Comedy of the 2010s." Animation 13, no. 3 (November 2018): 238–51. http://dx.doi.org/10.1177/1746847718805163.
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Around 2010, the inventor character started to populate animated blockbusters. Computer 3D animated films and their sequels such as Robots (Chris Wedge and Carlos Saldanha, 2005), Cloudy with a Chance of Meatballs (Phil Lord and Christopher Miller, 2009), Despicable Me (Pierre Coffin and Chris Renaud, 2010) and Big Hero 6 (Don Hall and Chris Williams, 2014) all feature inventors and their extravagant machines. In this article, the author explores the inventive artisan character as a self-reflexive trope of the animator. She expands Crafton’s thesis of the animator’s self-figuration and Tom Gunning’s work on machine comedy and operational aesthetics to further discussions on the animator and thereby the labour of animation. The article seeks to reveal the political agenda in the new animated machine comedy of the 2010s, which not only reflects the modes of production of contemporary animation studios, but also the larger concerns in the post-Fordist mode of production.
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Man-chi Cheung, Terrie. "The Discourse of Independent Animation in the Contemporary Chinese Context." Animation 16, no. 3 (November 2021): 175–89. http://dx.doi.org/10.1177/17468477211050974.
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Independent animation is a marginal media form in China, and studies describe how both Chinese artists and scholars of film studies have only started to practice or construct this genre and popular cinema since the 1990s, especially after the Shanke (Chinese Flash animators, 閃客) phenomenon. In this article, the existing discourse of independent animation in contemporary China is critically analyzed by studying mainly what is said and written by the local practitioners and scholars in China. The author’s analysis is based on the assumption that animation should be taken ‘as an art form’, which should be able to express itself freely without any external constraints or intervention by others. Hence, the focus should be placed on the ultimate purpose and meaning of art along with the form. Among the various types of discourses constructed by practitioners, the author argues that the discourse constructed by the contemporary Chinese art scene should be encouraged to keep the nature of independent works so as to give voice to true, personal and inner values, and expressions that are outside the institutionalized and dominating discourse or framework.
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De Bruyn, Dirk. "The Beauty of the Fragment Reconstituted in the Great Wall." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 42–62. http://dx.doi.org/10.24140/ijfma.v6.n2.03.
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Max Hattler’s short abstract animations demonstrate an awareness of the form’s historic 1920’s European Abstract Animation precedents, is informed by the structurally focused minimalism of the 60’s and re-tools pre-cinema toys. Yet his work speaks to the contemporary technological environment he occupies and experiences directly. His move to Hong Kong and his recent Serial Parallels is also a predictive probe into future media environments. Hattler’s digital architectures are designed to make sense of the technological situation of speed and information overload which Vilem Flusser marks as amnesic and Marshall McLuhan identifies as an acoustic space readable through pattern recognition. His practice makes productive use of the flexible and modular qualities of contemporary digital image-making technologies for both production and publication purposes.
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Lorenzo Hernández, María. "Animation in the Core of Dystopia: Ari Folman’s The Congress." Animation 14, no. 3 (November 2019): 222–34. http://dx.doi.org/10.1177/1746847719875072.
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Ari Folman’s The Congress (2013) borrows freely from Stanisław Lem’s dystopian view in his Sci-fi novel The Futurological Congress (1971) to propose the gradual dissolution of the human into an artificial form, which is animation. By moving the action of the novel from a hypothetical future to contemporary Hollywood, Ari Folman gives CGI animation the role of catalyst for changes not only in the production system, but for human thought and, therefore, for society. This way, the film ponders the changing role of performers at the time of their digitalization, as well as on the progressive dematerialization of the film industry, considering a dystopian future where simulation fatally displaces reality, which invites relating The Congress with Jean Baudrillard’s and Alan Cholodenko’s theses on how animating technologies have resulted in the culture of erasing. Moreover, this article highlights how Lem’s metaphor of the manipulation of information in the Soviet era is transformed in the second part of The Congress into a vision of cinema as a collective addiction, relating it to Alexander Dovzhenko’s and Edgar Morin’s speculative theories of total film – which come close to the potentialities of today’s Virtual Reality and Augmented Reality. In addition, although The Congress is a disturbing view of film industry and animating technologies, its vision of film is nostalgically retro as it vindicates an entire tradition of Golden Age animation that transformed the star system into cartoons, suggesting the fictionalization of their lives and establishing a postmodern continuum between animation and film.
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Haswell, Helen. "To infinity and back again." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 24–40. http://dx.doi.org/10.33178/alpha.8.02.
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In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. La Luna (Enrico Casarosa) marks a pivotal shift in Pixar's short film canon by displaying hand-drawn artwork and man-made textures. Widely considered the innovators of computer-generated animation, Pixar is now experimenting with 2D animation techniques and with textures that oppose the clean and polished look of mainstream American animation. This article aims to outline the significant technological developments that have facilitated an organic aesthetic by suggesting that nostalgia dictates a preference for a more traditional look. It will also argue that this process pioneered by Pixar has in turn influenced the most recent short films of Walt Disney Animation Studios.
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Yevtushenko, N. "ORGANIZATION OF POSTGRADUATE EDUCATION OF POLISH TEACHERS." Pedagogical Process: Theory and Practice, no. 2 (2017): 30–35. http://dx.doi.org/10.28925/2078-1687.2017.2.3035.
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The emergence and development of socio-cultural animation are closely related to the state of modern society and contemporary culture. Animation has become a response to their deficiencies and deficiencies, for the needs that our post-industrial society cannot satisfy. The development of civilization, which led to industrialization and urbanization, meant that the social structure underwent a radical transformation. Traditional forms of community life and the types of lasting relationships related to them have disappeared, and their place was replaced by individualistic culture focused on the individual and its self-fulfillment. The way we live has become increasingly dependent on the one hand on the state, with its ubiquitous institutions, and on the other hand on market mechanisms, increasingly aggressively entering all possible areas of social life. Many outstanding humanistic psychologists, such as Maslow, Perls, Rogers and Fromm, demanded action to transform the human individual. It was postulated to strive to develop in the individual such qualities as: openness, flexibility, the ability to make conscious choices, intrsteer, creativity, skepticism towards positively understood science and technology, striving for authenticity, treating life as internal changes, autonomy, caring for others, ecological sensitivity, independence, ability to self-organize into self-sufficient institutions, spiritual development. The theme of animation requires an interdisciplinary approach, as it concerns many areas of human life. Seen from a social perspective, it is associated with such phenomena as: enriching social and cultural life forms, inspiring people to creative life and creative activities, reviving local communities and various groups and environments, discovering the unrealized potentials of both individuals and groups. On the other hand, from the pedagogical perspective, you can see a range of methods in animation that can help you deal with contemporary educational and educational challenges. The publications have rich thematic literature that goes beyond Central Europe. The topic raised was not fully exhausted; this text is one of the components of the monograph being created, which will describe the overall profile of the animator and leisure time animation.
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Łapian, T. "PATTERN OF ANIMATOR IN POLISH AND FOREIGN LITERATURE ON THE SUBJECT." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 32 (2019): 4–13. http://dx.doi.org/10.28925/2311-2409.2019.32.1.
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The emergence and development of socio-cultural animation are closely related to the state of modern society and contemporary culture. Animation has become a response to their deficiencies and deficiencies, for the needs that our post-industrial society cannot satisfy. The development of civilization, which led to industrialization and urbanization, meant that the social structure underwent a radical transformation. Traditional forms of community life and the types of lasting relationships related to them have disappeared, and their place was replaced by individualistic culture focused on the individual and its self-fulfillment. The way we live has become increasingly dependent on the one hand on the state, with its ubiquitous institutions, and on the other hand on market mechanisms, increasingly aggressively entering all possible areas of social life. Many outstanding humanistic psychologists, such as Maslow, Perls, Rogers and Fromm, demanded action to transform the human individual. It was postulated to strive to develop in the individual such qualities as: openness, flexibility, the ability to make conscious choices, intrsteer, creativity, skepticism towards positively understood science and technology, striving for authenticity, treating life as internal changes, autonomy, caring for others, ecological sensitivity, independence, ability to self-organize into self-sufficient institutions, spiritual development. The theme of animation requires an interdisciplinary approach, as it concerns many areas of human life. Seen from a social perspective, it is associated with such phenomena as: enriching social and cultural life forms, inspiring people to creative life and creative activities, reviving local communities and various groups and environments, discovering the unrealized potentials of both individuals and groups. On the other hand, from the pedagogical perspective, you can see a range of methods in animation that can help you deal with contemporary educational and educational challenges. The publications have rich thematic literature that goes beyond Central Europe. The topic raised was not fully exhausted; this text is one of the components of the monograph being created, which will describe the overall profile of the animator and leisure time animation.
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Betancourt, Manuel. "Animating History at a Cellular Level." Film Quarterly 75, no. 2 (2021): 76–79. http://dx.doi.org/10.1525/fq.2021.75.2.76.
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FQ columnist Manuel Betancourt, whose mother ran an animation studio in Colombia, reflects upon the diversity of contemporary Latin American animated production. Unlike in America, where animation has long been misunderstood as child’s play, an ever-growing network of Latin American creators refuse to see animation as beholden to family-friendly fare. Noting the didactic potential of this malleable medium, which is being used to educate children about everything from the Spanish conquest to modern-day environmental issues, Betancourt also calls attention to a growing animated canon bringing Indigenous traditions into the twenty-first century.
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Piepiórka, Michał. "Spaces of difference. Narration in animation/liveaction hybrid films." Panoptikum, no. 26 (October 19, 2021): 189–215. http://dx.doi.org/10.26881/pan.2021.26.09.
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The aim of this paper is to focus on the ways of using animation as well as its function in live-action/ animation hybrid films. The usage of animation in narratives of such type of movies can vary. However, what connects them is the way of telling the story, based on the juxtaposition of two different realities that interact in a number of ways. The ways of combining the two worlds can be very different: animation may symbolize what is fantastic, as in pioneer McCay’s ‘Gertie the Dinosaur’, but also what is imagined, felt, thought out, once lived, dreamed of, alternative. The article describes the differences between classic hybrids and contemporary films.
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El Besomey, Dina Ali Mohamed El-Besomey. "The comparative study of advertising American presidency election campaign for both "Barack Obama"- "Donald Trump "via advertising animation film with multimedia." European Journal of Education 5, no. 1 (January 1, 2022): 25. http://dx.doi.org/10.26417/204tqe93.
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The role of advertising animation film as a political motivate in the contemporary reality strategy through multimedia in the research scale of universal unilateral force" America". and this reflection on the animation industry, which made the US authorities and capital owners as a political motivate towards political trends and political changes within and outside America worldwide , And this impact and reflection of our country Egypt and monitoring the effects and results of modern political changes in the contemporary Egyptian reality, and the need to presence of an national Egyptian defensing resistant to Western ideologies, especially the American ideology, which push the changes towards her interests and her advantages as well as the need for writing the history of our contemporary reality by Ourselves via all multimedia forms until they are not forging for the facts or the history with different ideology of the good Egyptian thought. Referring to the futurology, which was concentered with it by the century . As "Dr./ salah Qunsoua "pointed at introduction Book, entitled" the clash of Civilizations" Composed by: Samuil Hentgton - In response to what the current events causes in the world ,like problems and questions, do not find their solutions, or responses in previous models, samples, tribes, familiar and accepted theories until recently. As the contemporary world status, which America - Western Europe present the motivate of what facts happen and destroy the theories stabilized from the analysis of an interpretation.Keywords: Advertisement –Animation-multimedia -Advertising American presidency election campaign, – the USA president-"Barack Obama"- "Donald Trump "- the Simpsons- propaganda- Video clip entitled "He's Barack Obama He's Come to Save the Day"-advertising animation film"Donald Trump will destroy America".
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Ahmad Fadzil, Juaina, and Sanghamitra Dalal. "Re-inscribing Budi in Contemporary 3D Malaysian Animation Characters in Geng; The Adventure Begins (2009) and BoBoiBoy: The Movie (2016)." Malaysian Journal of Social Sciences and Humanities (MJSSH) 5, no. 2 (February 22, 2020): 87–95. http://dx.doi.org/10.47405/mjssh.v5i2.368.
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The success of Malaysian 3D animation films, Geng; The Adventure Begins (2009) and BoBoiBoy: The Movie (2016) in attracting local reception is partly due to their portrayal of the diversity of Malaysian ethnicity, traditions and moral values which the local audience may find relatable. Although these films portray modernity, the values represented are based on the traditional Malay concept of Budi re-inscribed in the characters’ personalities. The concept of Budi in this paper employs the academic study of Lim Kim Hui (2003a) and it includes my attempt to argue that this traditional asset can be re-imagined in the contemporary digital form which can be analysed through the main characters’ personalities in the selected films. Personality is one of the key principles of animation introduced by Lasseter (1987) for the 3D animation format and with it, helps shape characters to be unique and recognizable as depicted in their behaviours, habits as well as interaction with other characters. In addition, I employ Smith’s “structure of sympathy” to explain the spectator’s engagement with the fictional personalities portrayed on screen. The concept of Budi re-inscribed in characters of contemporary 3D Malaysian animation films proves that traditional values are not lost in modern times. Animation films are mostly watched by younger audiences, therefore Budi as a traditional moral concept can be sustained and disseminated to the younger generation in digital form.
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Fan, Ni. "Ne Zha’s image transformation in Chinese animation cinema (1961‐2019)." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 277–98. http://dx.doi.org/10.1386/ffc_00025_1.
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This article analyses Ne Zha’s image evolution through different animated films in the PRC from 1961 to 2019. Three key Ne Zha films are Uproar in Heaven, Ne Zha Conquers the Dragon King and Ne Zha, representing the era of ‘classical Chinese animation’, ‘modern Chinese animation’ and ‘postmodern Chinese animation’, respectively. In 2019, Ne Zha became the summer hit and the highest-grossing Chinese original animation earning ¥5.035 billion at the Chinese box office. Explorations of how classical artistic traditions and legendary stories have been transposed into these films shows that Chinese animation has retreated from the peak of national style in the 1960s and undergone change with globalization’s cultural and ideological impacts. In sum, artistic techniques associated with fine arts film, traditional narrative methods and plot stylization have gradually weakened. Contemporary elements such as Hollywood classic three-act pattern and Japanese comic character relationships and images have significantly influenced Chinese animation in the twenty-first century.
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Zhang, Lu, and Zhuoran Zhang. "Animation Education Innovation of Big Data in the New Media Environment." Wireless Communications and Mobile Computing 2022 (March 8, 2022): 1–12. http://dx.doi.org/10.1155/2022/1966607.
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Animation education is an essential part of art education. Animation education in China started late, and its development was intermittent. After entering the 21st century, animation education has developed at an unreasonably high speed and has formed layers of animation education bubbles. There are many problems and drawbacks behind the rapid development of animation education, but it has been slowly improved and some results have been achieved. In today’s multimedia age, the digital revolution has brought a brand new environment and space for contemporary animation, and a large cross-field animation industry is gradually taking shape. China’s animation industry should actively respond to the overall innovation of the global animation industry and build a new animation industry development model that adapts to the era of big data. And it builds an animation education system that adapts to the big data environment and continuously supplies talents for the animation industry. This article will study the innovation of animation education based on big data. This article introduces innovative methods of animation education based on big data and designs an animation education platform based on big data. It also conducted a questionnaire survey of learners using the platform based on the Technology Acceptance Model (TAM) and concluded: among the four-dimensional options of TAM, the average proportion of people who choose to agree is 49.5%, and the proportion of people who choose to disagree is 1.81%. This proves that most learners think that the animation learning platform in this article is useful and satisfied with the platform, and only a very small number of people have a poor experience of using the platform.
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Mihailova, Mihaela. "Drawn (to) independence: female showrunners in contemporary American TV animation." Feminist Media Studies 19, no. 7 (October 3, 2019): 1009–25. http://dx.doi.org/10.1080/14680777.2019.1667065.
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Paramana, Katerina. "The Animation of Contemporary Subjectivity in Tino Sehgal’s Ann Lee." Performance Research 24, no. 6 (August 18, 2019): 114–21. http://dx.doi.org/10.1080/13528165.2019.1686574.
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Pikkov, Ülo. "Surrealist Sources of Eastern European Animation Film." Baltic Screen Media Review 1, no. 1 (October 1, 2013): 28–43. http://dx.doi.org/10.1515/bsmr-2015-0003.
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Abstract This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film in Eastern Europe can be seen as a continuation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period.
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Muhammad Abdoh, Muhammad Alsayyid. "The Impact of Cartoon Films and Technological Games on the Creed of a Muslim Child, an Analytical Study." Al Hikmah International Journal of Islamic Studies and Human Sciences 4, Special Issue (June 28, 2021): 257–93. http://dx.doi.org/10.46722/hkmh.4.si.21j.
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The research aims at recognizing the danger of animation and Technological games, especially on the Muslim child's Creed which in turn affect his social, psychological, and cultural behavior. The analytical method has been used to display examples of these games and animation and their influence. The dilemma of the research is that such games and animation have been created in a non-muslim environment then spread in the Islamic countries in cluding ideas and behaviors suitable for them, but they are contrary to the muslim child's creed which has an influence on the young or old muslim's mentality. The Sharia scholars disagree on the issue of these games and animation whether they affect negatively or positively. The results showed that these electronic games and animation are among the contemporary doctrinal catastrophes in which the injunction of Sharia should be shown in proportion to such catastrophe and adherence to the dictums that do not violate the law of God Almighty.
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Kaptan Siray, Basak. "Concrete Abstract: Exploring Tactility in Abstract Animations from Early Avant-garde Films to Contemporary Artworks." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 28–41. http://dx.doi.org/10.24140/ijfma.v6.n2.02.
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After witnessing social chaos and the collapse of values at the beginning of the twentieth century, avant-garde artists insert new thought patterns and progressive aesthetic into the traditional perception of art. Being enthralled by the new film medium, former painters like Viking Eggeling, Walther Ruttman and Hans Richter start to experiment with light in two-dimensional film formats, they animate lines, stripes, basic shapes, play with the foreground and the background, and, most important of all, they construct a temporality within the visual order of the screen. Viking Eggeling’s Symphonie Diagonale (1921-24), Walther Ruttman’s Opus I (1921) and Hans Richter’s Rhythmus 21 (1921) show such temporality built in, which is caught by the idea of music as their titles suggest. These short abstract animation films attempt to discover the artistic possibilities of the new developing medium, film. Like the pioneer avant-garde abstract filmmakers, today’s artists still seek to stimulate a new perception for a possible embodiment that will activate the sense of touch in the audience. Tactility, enhanced by the material, opens up a new network of spatio-temporal relationships in the viewer's consciousness and subjecthood. This essay aims to bring a historical perspective to the abstract moving images of which the tactile or haptic experience is a defining characteristic. Through a selection of abstract animations, the materiality of the film image and the screening site will be elaborated upon according to the haptic features that are corporally embodied by the viewers. In the light of historical abstract animation, the aim is to dwell upon the dynamics of a continuous tendency to capture tactile instances to help bring forth the spatial resonances as well as visualize and reedify the rhythmic passing of time.
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Miner, Joshua D. "Experiments in Hybrid Documentary and Indigenous Model Animation." Animation 16, no. 1-2 (July 2021): 6–20. http://dx.doi.org/10.1177/17468477211025664.
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Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions.
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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.
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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.
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Vidakovic, Lea. "Fragmented Narratives: Exploring Storytelling approaches for Animation in Spatial Context." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 7–27. http://dx.doi.org/10.24140/ijfma.v6.n2.01.
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Animation is considered a prevalent medium in contemporary moving image culture, which increasingly appears across non-conventional surfaces and spaces. And while storytelling in animation films has been extensively theorized, narrative forms that employ physical space as part of storytelling have been less explored. This paper will examine the narrative aspect of animation works which are screened outside the traditional cinematic venues. It will look at how these animation works tell stories differently - using the full potential of the space, as a narrative device, a tool, and a stage where the narratives unfold. This paper will look at the historical perspective and the state of the art in animation installation today, exploring the relationship between the space and narrative in pre-cinematic, cinematic and post-cinematic conditions. It will examine how narrative structures in animation have changed over time, on their way from the black box of the cinema to the white cube of the gallery and even further, where they became part of any space or architecture. Through case studies of works by Tabaimo, Rose Bond, William Kentridge and other relevant artists, the interdependency of the narrative and the space where it appears will be explored, in order to identify new strategies for storytelling in animation. The aim of this paper is to emphasize the storytelling novelty that animation installations offer, which goes beyond the narrative structures that we are used to see on a single flat surface.
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Murphy, Joseph A. (Joseph Anthony). "Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation (review)." Philosophy East and West 56, no. 3 (2006): 493–95. http://dx.doi.org/10.1353/pew.2006.0041.
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Marks, Laura U. "Calligraphic Animation: Documenting the Invisible." Animation 6, no. 3 (September 21, 2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation.
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Kus, Peter. "Sound Animation, or on the Singing Stone." Maska 31, no. 179 (September 1, 2016): 92–99. http://dx.doi.org/10.1386/maska.31.179-180.92_1.
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The starting point for the author’s reflection on sound animation is the Egyptian statue of Memnon, the stone that sang at dawn; at first sight, this appears to be an oxymoron, for stone is an allegory of the inanimate, and yet immortal, while voice is the exact opposite, the fleeting sign of life. This opposition has triggered thinking about the life of stone and about the question of whether stone – not unlike musical instruments – has its own soul or if another life sounds through it. The author touches upon cosmological theories and world mythologies, which describe the world and its origin with musical metaphors, as well as the superstring theory in contemporary physics, according to which the vibrations of superstrings determine the properties of particles and forces in nature. Oscillation, then, is an innate property of all things; hence, man is not only a constructor and animator, but must also listen to things and become an echo of their own sounds. In this relationship, the author finds the line separating classical, mainly industrial, instruments from original musical instruments that originate from the “animation” of materials: in the first case, it is the musician who expresses him- or herself, while in the latter case, it is the object that does so; the former instruments are played by musicians, the latter are animated by them. The writer is the author of musical puppet plays in which set design elements, props and puppets enable visual and theatrical expressiveness as well as the performance of music; therefore, his performances are an indivisible blend of puppet animation and music concerts.
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Van de Peer, Stefanie. "Fragments of War and Animation: Dahna Abourahme’s Kingdom of Women and Soudade Kaadan’s Damascus Roofs: Tales of Paradise." Middle East Journal of Culture and Communication 6, no. 2 (2013): 151–77. http://dx.doi.org/10.1163/18739865-00602003.
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In this article, the author addresses the meaning of animated fragments in documentary films. She analyzes a Syrian and a Lebanese film, and illustrates the role and function of the hybrid form as a means through which women are now able to express themselves. Dahna Abourahme’s film Ein El Hilweh: Kingdom of Women (Lebanon, 2010) and Soudade Kaadan’s film Damascus Roofs: Tales of Paradise (Syria, 2010) are used as recent examples of documentaries addressing taboo issues by way of animated fragments. The author places these films in the wider context of the contemporary developments in animation in the Middle East, paying special attention to women’s contributions in the field. Both documentaries use animation not only for aesthetic appeal but also to enhance understanding and deepen engagement with topics and events that are necessarily situated beyond the knowledge and experience of a transnational audience. The author contends that animation creates a different film experience, and the audience must deal with the seduction of the animation.
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Mitchell, Robert. "Suspended Animation, Slow Time, and the Poetics of Trance." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 107–22. http://dx.doi.org/10.1632/pmla.2011.126.1.107.
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Suspended animation emerged as a concept in the late eighteenth century as part of the efforts of the newly founded Royal Humane Society to convince lay and medical readers that individuals who had apparently drowned might still be alive, albeit in states of “suspended animation” (a condition we would now likely describe as a coma). The term was quickly taken up by medical and literary authors, including Samuel Taylor Coleridge, Mary and Percy Bysshe Shelley, and John Keats. Exploring these Romantic-era approaches to suspended animation can help us understand the reception and formal structures of creative literature, grasp the often counterintuitive links that Romantic-era authors established between “altered states” and “Romantic sobriety,” and articulate why poetry and other slow media remain important in our contemporary new-media landscape.
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Skawina, Ireneusz, Elżbieta Markiewicz, and Sylwia Szczepaniak. "Pedagogical Intervention: The Place and the Influence of Contemporary Animated Movies on Pedagogical Process." Pedagogika Rodziny 5, no. 1 (March 1, 2015): 39–50. http://dx.doi.org/10.1515/fampe-2015-0004.
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Abstract Nowadays, the most expansive factor which determines the various aspects of human life are social communicators. Among them there is a consistent dominance of television for decades. This social mean of messaging, being a common utility good has changed its status, in recent times. It seems that from the electronic device intended for remote receiving the moving images, it became an inalienable part of the family - often its binder. What’s more, a new feature that TV performs, fully enables parents to entrust essential pedagogical - educational process of youngest members of the family. This means, more than once, many hours of child’s mindless contact with animation movies. At that time, uncontrolled by the parents and guardians, contents of animation are received and assimilated by the child (unconditionally-E. M.) influencing the evolution or changes in the personality, attitudes, and behaviors. The phenomena that occur in the sphere of child’s personality under the influence of the assimilation of media content, just encompass the educational scope. This means that childhood is the most important period of human development and an essential part of pedagogical and educational process where our personality and character, our attitudes and behavior and action are shaped. Hence, pedagogical intervention becomes necessary to contemporary content of animation,which is easy to receiveon the one hand promotes hedonistic behaviour patterns and mass culture, on the other “(...) does not provoke to work on yourself, (...), rather adulate the recipient, confirming him to the belief that he/she has the right to do what he/she wants” [Bobrowska 1999, pp. 67-73].
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Kim, Sun-Young. "Expression Types and Characteristics of Cartoon and Animation Characters in Contemporary Fashion." Journal of the Korean Society of Clothing and Textiles 34, no. 11 (November 30, 2010): 1912–22. http://dx.doi.org/10.5850/jksct.2010.34.11.1912.
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Ilchev, S., D. Petkov, R. Andreev, and Z. Ilcheva. "Smart Compact Laser System for Animation Projections." Cybernetics and Information Technologies 19, no. 3 (September 1, 2019): 137–53. http://dx.doi.org/10.2478/cait-2019-0030.
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Abstract In this paper, we present the design of a compact laser system for animation projections both indoors and outdoors. Our focus is on the hardware and software aspects of the electronic control of the system from the design phase to the experimental tests and evaluations. The main purpose behind our development efforts is the creation of an affordable laser system for research, entertainment and marketing purposes using contemporary advances in electronics, software development, semiconductor laser diodes and optics. The system is “smart” in the sense that it connects to other devices and the Internet via a WiFi network, so that in addition to doing standalone laser projections, it also has remote control and remote debugging capabilities. Via its two embedded microcontrollers, the system offers an easy integration into existing Internet of Things (IoT) infrastructure. The experimental results are very promising and bring us closer to creating a viable product from both a technological and an economic standpoint.
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Purwaningsih, Dominika Anggraeni. "Character Design in Indonesian Animated Series: Escaping The Shadow of Foreign Hegemony." ULTIMART Jurnal Komunikasi Visual 9, no. 2 (March 22, 2018): 48–60. http://dx.doi.org/10.31937/ultimart.v9i2.751.
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Whilst animated series, whether it’s a TV series or web series is a relatively new media in Indonesia, it has gone through a significant process. One of the interesting aspects that we can observe from it is the development of the character design. It’s undeniable that foreign hegemony contributed in major parts of the design but we can’t overlook the efforts in finding Indonesia’s very own unique character design and how it affects the successors. This paper will study the character designs of Indonesia animated series from the earliest known to the latest to date when this paper is written. The method used is comparative descriptive case study, the research focus is the design character of contemporary Indonesian animation and then compared with foreign animation character design, in this study primarily is animation of Japan and the United States as the dominant power in both areas. By conducting case studies, this study aimed to develop in-depth analysis of the subject matter of the character designs in terms of aspects that enrich the visual and qualitative approach.
Keywords: character design, Indonesia animation, animated web series, animated TV series
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Griffin, Martyn, Nancy Harding, and Mark Learmonth. "Whistle While You Work? Disney Animation, Organizational Readiness and Gendered Subjugation." Organization Studies 38, no. 7 (September 26, 2016): 869–94. http://dx.doi.org/10.1177/0170840616663245.
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This paper introduces the concept of ‘organizational readiness’: socio-cultural expectations about working selves that prepare young people (albeit indirectly and in complex and multi-faceted ways) for their future life in organizations. This concept emerges from an analysis of Disney animations and how they constitute expectations about working life that may influence children through their representations of work and gendered workplace roles. The paper’s exploration of Disney’s earlier animations suggests they circulated norms of gender that girls should be weak and avoid work. In contrast, its contemporary productions circulate gender norms that suggest girls should be strong and engage in paid work. In this reading, the continued circulation of earlier alongside contemporary animations may convey to young viewers a paradox: girls must and must not work; they must be both weak and strong. We thus offer new insights into the puzzle of the continued relegation of women to the sidelines in organizations; more optimistically, we also point to ways in which future generations of employees may forge ways of constituting forms of gendered selves as yet hardly imaginable.
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MUŞKARA, Üftade, Oylum TUNÇELLİ, and Serpil ŞAHİN. "ART AND ARCHAEOLOGY CLOSE ENCOUNTERS OF THE THIRD KIND." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 732–49. http://dx.doi.org/10.7456/11102100/024.
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Art and archaeology have a growing interaction, which is expressed mainly in displaying the material culture of ancient civilizations. The post-modernist concept suggests that art is for everyone. Likewise, archaeologists recognize the idea that archaeological narratives are supposed to be everyone to understand and enjoy. Today, many museum displays and special exhibitions consist of contemporary design features of art. The technology-driven exhibition techniques applied in the “Curious Case of Çatalhöyük” exhibition and Göbeklitepe Animation Center to increase the perception of visitors establish the basis of the study. The paper examines the backgrounds of the relation between two disciplines by “digging” up the history of archaeological theories and analyzing main art movements corresponding to a period from Dadaism to contemporary art. Archaeological storytelling of history and culture using post-modern rhetoric is defined as the “close encounter.” The interactive display provides new directions in the visual reconstructions of past societies. We proposed that the Çatalhöyük exhibition and Göbeklitepe Animation Center are among the best examples of the new approach for presentation in archaeology.
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Morgan, Trevor Vermont. "Pushing the frontiers of Nigeria’s cultural communication through digital media practice." Virtual Creativity 10, no. 2 (December 1, 2020): 175–90. http://dx.doi.org/10.1386/vcr_00031_1.
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This article uses the example of a digital Nigeria visualization and animation project to provide an insight into the kind of technological, cultural and communication possibilities available for indigenous groups of Africa, and Nigeria in particular. This follows the nascent dispersal of the digital three-dimensional media production experiences in Nigeria. The project has used digital media technology to capture visual elements of different cultural elements amongst the Igbo of Nigeria as a means of promoting identity and cultural longevity. An overview of the development of digital 3D animation in Nigeria has been used to locate the project in the stream of contemporary practice so as to provide the right context for its appreciation.
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Smits, Lieke. "Small Pipe-Clay Devotional Figures: Touch, Play and Animation." Das Mittelalter 25, no. 2 (November 10, 2020): 397–423. http://dx.doi.org/10.1515/mial-2020-0044.
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AbstractSmall, mass-produced pipe-clay figurines were popular devotionalia in the late medieval Low Countries. In this paper, focusing on representations of the Christ Child, I study the sensory and playful ways in which such objects were used as ‘props of perception’ in spiritual games of make-believe or role-play. Not only does this particular iconography invite tactile and playful behaviour, the figurines fit within a larger context of image practices involving visions and make-believe. Through such practices images were animated and imbued with a divine power. Contemporary written sources suggest that, especially for women, ownership of and sensory engagement with small-scale figures provided them with agency.
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Rozenkrantz, Jonathan. "short subject: Expanded epistemologies: Animation meets live action in contemporary Swedish documentary film." Journal of Scandinavian Cinema 6, no. 2 (June 1, 2016): 189–97. http://dx.doi.org/10.1386/jsca.6.2.189_1.
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Mihailova, Mihaela. "Studio Melnitsa's Bogatyr Cycle: Notes on a Global Approach to Contemporary Studio Animation." JCMS: Journal of Cinema and Media Studies 61, no. 1 (2021): 166–72. http://dx.doi.org/10.1353/cj.2021.0077.
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Orlando, G., P. Marandola, R. Macchi, E. Cremaschi, A. Trinchieri, and A. Speroni. "Interactive multimediality system on personal computer for teaching in urology." Urologia Journal 59, no. 1_suppl (January 1992): 99–101. http://dx.doi.org/10.1177/039156039205901s32.
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The multimediality systems are specifically informatics procedures. These allow the contemporary presentation and the active interaction on the monitor of a personal computer of texts, dias, videomovies, animations. Our study presents an interactive-multimediality system for the training of the urologist in medical school. The object of the development at this moment is the presentation and illustration of the urethrocystoscopic procedure. The graphic interface allows the user the choice of modality, e.g. text, animation, videomovie or dia; the user “clicks” on the icon and the system starts; the modality can be changed at any time to have a better visualization of the problem. The user can choose to read or hear the text. The development of the system will be a complete teaching media for endourologic diagnostic and therapeutic methods. In the future the virtual reality will be very interesting: the student will be able to read, see and verify the pathologies and the therapeutic methods on the computer before real application on the human body.
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Muhammad Abdoh, Muhammad Alsayyid. "The Impact of Cartoon Films and Technological Games on the Creed of a Muslim Child, an Analytical Study." AL-HIKMAH: INTERNATIONAL JOURNAL OF ISLAMIC STUDIES AND HUMAN SCIENCES 4 (June 28, 2021): 257–93. http://dx.doi.org/10.46722/hikmah.v4i.134.
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هدفت الدراسة إلى إبراز خطورة الرسوم المتحركة والألعاب التكنولوجية؛ خاصة على عقيدة الطفل المسلم والتي تؤثر تباعًا على سلوكه اجتماعيا ونفسيًا وثقافيًا، وقد تم الاعتماد على المنهج التحليلي في عرض نماذج من هذه الرسوم والألعاب، ومدى تأثيرهما عليه. وتأتي إشكالية البحث في أن هذه الألعاب والرسوم نشأت في بيئة غير إسلامية-مناسبة لها- ثم انتشرت بعد ذلك إلى الدول الإسلامية حاملة معها أفكارًا وسلوكيات؛ لكنها مخالفة لعقيدة الطفل المسلم، مما كان لها تأثير على عقلية المسلم صغيرًا أو كبيرًا، وأصبح العلماء يختلفون في حكم هذه الرسوم والألعاب، نظرًا لتأثيرهما إيجابيا وسلبيًا. وقد أظهرت النتائج أن هذه الرسوم المتحركة والألعاب الإلكترونية تعد من النوازل العقدية المعاصرة التي ينبغي إظهار الحكم الشرعي فيها بما يتناسب مع هذه النازلة، والالتزام بالضوابط التي لا تخالف شرع الله تعالى.
الكلمات المفاتيح: العقيدة، النوازل، الأفلام الكرتونية، الألعاب الإلكترونية.
Abstract
The research aims at recognizing the danger of animation and Technological games, especially on the Muslim child's Creed which in turn affect his social, psychological, and cultural behavior. The analytical method has been used to display examples of these games and animation and their influence. The dilemma of the research is that such games and animation have been created in a non-muslim environment then spread in the Islamic countries in cluding ideas and behaviors suitable for them, but they are contrary to the muslim child's creed which has an influence on the young or old muslim's mentality. The Sharia scholars disagree on the issue of these games and animation whether they affect negatively or positively. The results showed that these electronic games and animation are among the contemporary doctrinal catastrophes in which the injunction of Sharia should be shown in proportion to such catastrophe and adherence to the dictums that do not violate the law of God Almighty.
Keywords: creed, catastrophe, animation, electronic games.
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Stacey, Jackie, and Lucy Suchman. "Animation and Automation – The Liveliness and Labours of Bodies and Machines." Body & Society 18, no. 1 (March 2012): 1–46. http://dx.doi.org/10.1177/1357034x11431845.
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Written as the introduction to a special issue of Body & Society on the topic of animation and automation, this article considers the interrelation of those two terms through readings of relevant work in film studies and science and technology studies (STS), inflected through recent scholarship on the body. Drawing upon historical and contemporary examples, we trace how movement is taken as a sign of life, while living bodies are translated through the mechanisms of artifice. Whereas film studies has drawn upon work ranging from production history to semiotics and psychoanalysis to conceptualize the ways in which the appearance of life on the cinema screen materializes subjectivities beyond it, STS has developed a corpus of theoretical and empirical scholarship that works to refigure material-semiotic entanglements of subjects and objects. In approaching animation and automation through insights developed within these two fields we hope to bring them into closer dialogue with each other and with studies of the body, given the convergence of their shared concerns with affective materializations of life. More specifically, an interest in the moving capacities of animation, and in what gets rendered invisible in discourses of automation, is central to debates regarding the interdependencies of bodies and machines. Animation is always in the end a relational effect, it seems, while automation implies the continuing presence of hidden labour and care.
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Vajjhala, Rachana. "Telling Time: Statues and Stasis, Daphnis et Chloé and L'après-midi d'un faune." Journal of the Royal Musical Association 141, no. 2 (2016): 303–33. http://dx.doi.org/10.1080/02690403.2016.1216043.
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ABSTRACTThis article considers the statuomaniacal impulse sweeping Paris in the first years of the twentieth century, and how contemporary interest in the animation of antiquities resulted in new ways of seeing. Despite the shared aspects of setting and choreographic inspiration, Daphnis et Chloé and L'après-midi d'un faune staged profoundly divergent conceptions of how bodies could and should move, a result of emerging optical modes.
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Gwynne, Joel. "‘Might as Well Be Dead’: Domesticity, Irony and Feminist Politics in Contemporary Animation Comedy." Critical Studies in Television: The International Journal of Television Studies 10, no. 2 (June 2015): 55–70. http://dx.doi.org/10.7227/cst.10.2.5.
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Rowe, Rebecca. "Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s by Noel Brown." Lion and the Unicorn 45, no. 2 (2021): 251–53. http://dx.doi.org/10.1353/uni.2021.0020.
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Bond, Rose. "Visualizing Berio’s Sinfonia: Choreographing Animation for Indeterminate Narratives." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 63–74. http://dx.doi.org/10.24140/ijfma.v6.n2.04.
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In 1968, a year of massive political and cultural upheaval, Luciano Berio composed a score that would shape his legacy. Entitled Sinfonia, which literally means sounding together, the symphony was sparked by the assassination of Martin Luther King. Heralded as “the ultimate pre-postmodernist musical palimpsest” (Service, 2012). Sinfonia reverberates with the political assassinations and massive protests punctuated by police repression that marked 1968. In late 2019, I was offered an animated projection commission with a primary voice in choosing a piece for live symphonic performance/projection. After some researching, I found Berio’s Sinfonia. It had what I was looking for - a “contemporary” piece, it resisted illustration, linear narrative and 19th century romanticism while eschewing the rigid formality of serialism. Instead, it embraced two core Modernist principles – fragmentation and use of the archive. Berio quoted/sampled disparate chunks of literature, music, and events of 1968 in the service of the political and the poetic to discover unity in the heterogeneous. His score seemed ripe for visual interpretation - and exposition - with animation as the prime driver. Following Berio’s lead, I chose visual sampling as my entre and turned to Google. By animating in and out of iconic (and lesser known) images in the orb of 1968, I created a commensurate puzzle piece that mirrored the suggested avant-garde intent I found in Sinfonia – “Where now? Who now? When now?” (Beckett, 1965, p. 291).