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Books on the topic 'Experimental animation'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Smith, Vicky, and Nicky Hamlyn, eds. Experimental and Expanded Animation. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4.

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2

Russett, Robert. Experimental animation: Origins of a new art. New York, N.Y: Da Capo Press, 1988.

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3

Cecile, Starr, ed. Experimental animation: Origins of a new art. New York: Da Capo, 1988.

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4

Wong, Peter Ming. Splat - the fly: Experimental integration of computer animation and live action. London: Middlesex Polytechnic, Centre for Advanced Studies in Computer Aided Art and Design, 1990.

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5

Stadtmuseum im Kornhaus (Tübingen, Germany) and Filmmuseum der Landeshauptstadt Düsseldorf, eds. Animation und Avantgarde: Lotte Reiniger und der absolute Film = Animation and avant-garde : Lotte Reiniger and Absolute Film. Tübingen: Stadtmuseum, 2015.

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6

John, Sundholm, and Söderbergh-Widding Astrid, eds. A history of Swedish experimental film culture: From early animation to video art. Stockholm: National Library of Sweden, 2010.

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7

Christian, Wallraven, ed. Experimental design: From user studies to psychophysics. Boca Raton, FL: CRC Press, 2011.

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8

Peter, Hall. Pause: 59 minutes of motion graphics : broadcast design, music video, animation, and experimental graphics from around the world. New York, NY: Universe, 2000.

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9

(Firm), Onedotzero, ed. Motion blur: Onedotzero: graphic moving imagemakers. London: Laurence King, 2004.

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10

Palamar, Todd. Maya studio projects: Dynamics. Hoboken, N.J: Wiley, 2010.

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11

Miriam, Harris, Husbands Lilly, and Taberham Paul. Experimental Animation. Edited by Miriam Harris, Lilly Husbands, and Paul Taberham. Routledge, 2019. http://dx.doi.org/10.4324/9781315203430.

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12

Experimental Animation. Taylor & Francis Group, 2019.

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13

Yan, LiLi. Animation Creation and Experimental Animation Exploration. Overseas Chinese Press Inc, 2022.

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14

Harris, Miriam, Paul Taberham, and Lilly Husbands. Experimental Animation: From Analogue to Digital. Taylor & Francis Group, 2019.

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15

Harris, Miriam, Paul Taberham, and Lilly Husbands. Experimental Animation: From Analogue to Digital. Taylor & Francis Group, 2019.

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16

Harris, Miriam, Paul Taberham, and Lilly Husbands. Experimental Animation: From Analogue to Digital. Taylor & Francis Group, 2019.

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17

Harris, Miriam, Paul Taberham, and Lilly Husbands. Experimental Animation: From Analogue to Digital. Taylor & Francis Group, 2019.

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18

Harris, Miriam, Paul Taberham, and Lilly Husbands. Experimental Animation: From Analogue to Digital. Taylor & Francis Group, 2019.

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19

Hamlyn, Nicky, and Vicky Smith. Experimental and Expanded Animation: New Perspectives and Practices. Palgrave Macmillan, 2018.

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20

Hamlyn, Nicky, and Vicky Smith. Experimental and Expanded Animation: New Perspectives and Practices. Palgrave Macmillan, 2018.

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21

Parks, Corrie Francis. Fluid Frames: Experimental Animation with Sand, Clay, Paint, and Pixels. CRC Press LLC, 2020.

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22

Parks, Corrie Francis. Fluid Frames: Experimental Animation with Sand, Clay, Paint, and Pixels. Taylor & Francis Group, 2015.

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23

Fluid Frames: Experimental Animation with Sand, Clay, Paint, and Pixels. Taylor & Francis Group, 2016.

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24

Fluid Frames: Experimental Animation with Sand, Clay, Paint, and Pixels. Taylor & Francis Group, 2016.

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25

Parks, Corrie Francis. Fluid Frames: Experimental Animation with Sand, Clay, Paint, and Pixels. CRC Press LLC, 2020.

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26

Parks, Corrie Francis. Fluid Frames: Experimental Animation with Sand, Clay, Paint, and Pixels. CRC Press LLC, 2020.

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27

Parks, Corrie Francis. Fluid Frames: Experimental Animation with Sand, Clay, Paint, and Pixels. CRC Press LLC, 2020.

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28

Puppetry, Puppet Animation and the Digital Age. CRC Press LLC, 2018.

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29

Giesen, Rolf. Puppetry, Puppet Animation and the Digital Age. CRC Press LLC, 2018.

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30

Giesen, Rolf. Puppetry, Puppet Animation and the Digital Age. CRC Press LLC, 2018.

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31

Puppetry Puppet Animation and the Digital Age. Taylor & Francis Group, 2018.

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32

Puppetry, Puppet Animation and the Digital Age. CRC Press LLC, 2018.

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33

Wallraven, Christian, and Douglas W. Cunningham. Experimental Design. Taylor & Francis Group, 2019.

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34

Wallraven, Christian, and Douglas W. Cunningham. Experimental Design: From User Studies to Psychophysics. CRC Press LLC, 2011.

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35

Breuer, Lee, Robert Wilson, and Richard Foreman. Theatre Of Images: Pandering to the Masses : A misrepresentation/A Letter for Queen Victoria/The Red Horse Animation. PAJ Publications, 2005.

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36

Wallraven, Christian, and Douglas W. Cunningham. Experimental Design: From User Studies to Psychophysics. CRC Press LLC, 2011.

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37

The History of Motion Graphics. Wildside Press, 2013.

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38

History of Motion Graphics. Wildside Press, LLC, 2013.

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39

Perrott, Lisa. ZigZag. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.038.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Animators and visual music artists have long experimented with technological devices to explore the image–sound relationship, often innovating new ways of composing motion in time and space. For Len Lye this involved pioneering methods of animation and exploring the material qualities of organic materials such as film and metal, creating a substantial body of handmade animations that continue to affect audiences and inspire contemporary practitioners. Lye’s work provided the inspiration and raw materials for the development ofZig Zag, an homage to Lye, which integrated traditional musical instruments with digital media, remixed and projected visual imagery, and improvised theatrical performance. This complex process of remediation is discussed in relation to the extracinematic animation of both Lye’s sculptures and the theatrical performances. Extending the term “animation” is fundamental to understanding the wayZig Zagis a reanimation of the latent material life force embodied in Lye’s resting sculptures.
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40

Miller, Giulia. Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.001.0001.

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On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an “autobiographical” and “honest” account of the director's own experiences in the 1982 Lebanon War. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As this book shows, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).
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41

Century, Michael. Northern Sparks. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/10818.001.0001.

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An “episode of light” in Canada sparked by Expo 67 when new art forms, innovative technologies, and novel institutional and policy frameworks emerged together. Understanding how experimental art catalyzes technological innovation is often prized yet typically reduced to the magic formula of “creativity.” In Northern Sparks, Michael Century emphasizes the role of policy and institutions by showing how novel art forms and media technologies in Canada emerged during a period of political and social reinvention, starting in the 1960s with the energies unleashed by Expo 67. Debunking conventional wisdom, Century reclaims innovation from both its present-day devotees and detractors by revealing how experimental artists critically challenge as well as discover and extend the capacities of new technologies. Century offers a series of detailed cross-media case studies that illustrate the cross-fertilization of art, technology, and policy. These cases span animation, music, sound art and acoustic ecology, cybernetic cinema, interactive installation art, virtual reality, telecommunications art, software applications, and the emergent metadiscipline of human-computer interaction. They include Norman McLaren's “proto-computational” film animations; projects in which the computer itself became an agent, as in computer-aided musical composition and choreography; an ill-fated government foray into interactive networking, the videotext system Telidon; and the beginnings of virtual reality at the Banff Centre. Century shows how Canadian artists approached new media technologies as malleable creative materials, while Canada undertook a political reinvention alongside its centennial celebrations. Northern Sparks offers a uniquely nuanced account of innovation in art and technology illuminated by critical policy analysis.
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42

Quay Brothers' Universum. NAi Uitgevers / Publishers Stichting, 2014.

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43

Mollaghan, Aimee. Rebalancing the Picture-Sound Relationship. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0011.

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This chapter explores how experimental filmmaker Lis Rhodes subverts the hegemonic relationship between sound and image across her body of moving image work in order to highlight and address inequitable power structures and the absence of the female voice in music and society. This is achieved on a material level by translating the optical soundtrack into visual presentations in her direct animation Dresden Dynamo (1971–72) and within an expanded, performative context in her audiovisual composition Light Music (1975). Further to this, Rhodes’s later films, Light Reading (1978) and A Cold Draft (1988), continue to rebalance the audiovisual relationship by giving countenance to the female voice, acousmatised from the images presented on screen.
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44

Beagles, John. ToDoJoyComplete. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450078.

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ToDoJoyComplete is a short 3D digital film (approximately 6 minutes) by the collaborative duo Beagles and Ramsay.A speculation about digital aesthetics, the film combines the experimental use of 3d animation software with insights from Beagles’ published research on the impact of digital culture. The film shows a number of disconnected figures moving and occupying an anonymous artificially-lit and disorientating interior that is reminiscent of a contemporary art installation. A dehumanised voiceover comprises the key feature of the soundtrack. Since its first presentation in 2016, at The Scottish Endarkenment: Art and Unreason 1945 to the Present, Dovecot Gallery, Edinburgh from 13 May – 29 August 2016, the film has been shown in different iterations in 5 national and international venues including London, Glasgow and Copenhagen. See Significance, page 17 for full list.
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45

Kaduri, Yael, ed. The Oxford Handbook of Sound and Image in Western Art. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.001.0001.

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This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which constitutes one section of the book. The first concentrates on the interaction between seeing and hearing. Examples of classic and digital animation, video art, choreography, and music performance, which are motivated by the issue of eye versus ear perception are examined in this section. The second section explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section shows how the new light shed by modernism on the performative aspect of music has led it—together with sound, voice, and text—to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in visual poetry, short film, and cinema.
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46

Booker, M. Keith. Drawn to Television. Praeger, 2006. http://dx.doi.org/10.5040/9798400642425.

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Since late evening cartoons first aired in 1960, prime-time animated series have had a profound effect on American television and American culture at large. The characters and motifs from such shows asThe FlintstonesandThe Simpsonsare among the best-known images in world popular culture; and tellingly, even series that have not done well in prime time—series likeThe Jetsons, for instance—have yielded similarly iconic images. The advent of cable and several new channels devoted exclusively to animated programming have brought old series back to life in syndication, while also providing new markets for additional, often more experimental animated series. Even on the conventional networks, programs such asThe FlintstonesandThe Simpsons, not to mentionFamily GuyandKing of the Hill, have consistently shown a smartness and a satirical punch that goes well beyond the norm in network programming.Drawn to Televisiontraces the history of prime-time animation fromThe Flintstonesinitial extension of Saturday mornings toFamily GuyandSouth Park's late-night appeal in the 21st century. In the process, it sheds a surprising light on just how much the kid inside us all still has to say. Drawn to Televisiondescribes the content and style of all the major prime-time animated series, while also placing these series within their political and cultural contexts. It also tackles a number of important questions about animated programming, such as: how animated series differ from conventional series; why animated programming tends to be so effective as a vehicle for social and political satire; what makes animated characters so readily convertible into icons; and what the likely effects of new technologies (such as digital animation) will be on this genre in the future.
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47

Sas, Miryam. Feeling Media. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023098.

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In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale—the space where artists and theorists work between the level of the individual and larger global and historical shifts. She examines intermedia, experimental animation, and Marxist theories of the culture industries of the 1960s and 1970s in the work of artists and thinkers ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and the Three Animators' Group to art critic Hanada Kiyoteru and landscape theorist Matsuda Masao. She also outlines how twenty-first-century Japanese artists—especially those responding to the Fukushima disaster—adopt and adapt this earlier work to reframe ideas about collectivity, community, and connectivity in the space between the individual and the system.
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48

Hanson, Matt, and Shane Walter. Motion Blur: Graphic Moving Imagemakers. Collins Design, 2004.

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49

Kumao, Heidi. Heidi Kumao: Real and Imagined. Maize Books, 2022. http://dx.doi.org/10.3998/mpub.12465060.

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Heidi Kumao: Real and Imagined documents and contextualizes narrative fabric works and animations from Kumao’s 2020 solo exhibition at the University of Michigan’s Stamps Gallery. Using fabric cutouts and stitching of everyday objects, Kumao invents a tactile visual vocabulary that distills unspoken aspects of ordinary exchanges into accessible narrative images. Weaving in her experiences as an Asian American woman, artist, and educator, Kumao creates poetic and playful open-ended visual haikus, generating a range of associations to current events, gender roles, and institutional power structures. Captured midstream, interactions from intimate relationships, medical procedures, the workplace, and the political sphere are suspended in time within felt film stills. Real and Imagined presents the reader with an opportunity to experience this remarkable oeuvre of over thirty fabric works and video animations. For over thirty years, Kumao has developed an expanded art practice that includes animations, video installations, photographs, machine art, and fabric works that give physical form to the intangible parts of our lives: our emotions, psychological states, memories, thinking patterns. Her hybrid artworks have included electromechanical girl’s legs that “misbehave,” video installations about surviving confinement, surreal, experimental stop motion puppet animations, performative staged photographs, and hand crafted cinema machines. She has exhibited her award-winning artwork in solo and group exhibitions nationally and internationally including the Art Science Museum Singapore, Centre de Cultura Contemporània de Barcelona, the Museum of Image and Sound (São Paulo) and the Museum of Modern Art in Buenos Aires. Her work is in permanent and private collections including the Houston Museum of Fine Arts, Arizona State University Art Museum, the Philadelphia Museum of Art and the Exploratorium in San Francisco. She has received fellowships and grants from the Guggenheim Foundation, the Creative Capital Foundation, and the National Endowment for the Arts. She is a professor at the Stamps School of Art & Design at the University of Michigan, Ann Arbor. This exhibition catalogue marks the first significant publication on Kumao’s work and includes a selection of works from across her career. It includes written contributions by: Srimoyee Mitra, curator and Director of the Stamps Gallery and NYC-based art critic; Wendy Vogel; an interview between the artist and writer Lynn Love; and poems by the Ruth Lilly Poetry Prize Award winner Marilyn Chin.
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50

Dobson, Terence. “bump … bup … bup”. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0005.

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Norman McLaren was a prolific and innovative filmmaker for almost half a century. During this time, his experimentation with image, sound and the physicality of filmmaking produced groundbreaking examples of audiovisuality that form pivotal moments in the history of experimental film. His sonic innovations, developed using the optical soundtrack area of movie film, initially stemmed from utilitarian considerations, yet his application of his innovations transcended these mundane beginnings. Through an examination of his belief in the importance in his films of the visual-sonic relationship, and of his philosophical approach to his filmmaking, and further, of his manner of working, an understanding of McLaren’s unique filmic journey is approached. McLaren’s hand-drawn sound and card method of animating sound is discussed through such films as his Dots, Loops, Neighbours and Synchromy.
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