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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Michele Leigh Paper : Animated Music
GA2012 – XV Generative Art Conference Michele Leigh Paper : Animated Music: Early Experiments with Generative Art Abstract: This paper will explore the historical underpinnings of early abstract animation, more particularly attempts at visual representations of music. In order to set the stage for a discussion of the animated musical form, I will briefly draw connections to futurist experiments in art, which strove to represent both movement and music (Wassily Kandinsky for instance), as a means of illustrating a more explicit desire in animation to extend the boundaries of the art in terms of materials and/or techniques By highlighting the work of experimental animators like Hans Richter, Oskar Fishinger, and Mary Ellen Bute, this paper will map the historical connection between musical and animation as an early form of generative art. I will unpack the ways in which these filmmakers were creating open texts that challenged the viewer to participate in the creation of meaning and thus functioned as proto-generative art. Topic: Animation Finally, I will discuss the networked visual-music performances of Vibeke Sorenson as an artist who bridges the experimental animation Authors: tradition, started by Richter and Bute, and contemporary generative art Michele Leigh, practices. Department of Cinema & Photography This paper will lay the foundation for our understanding of the Southern Illinois history/histories of generative arts practice. University Carbondale www.siu.edu You can send this abstract with 2 files (.doc and .pdf file) to [email protected] or send them directly to the Chair of GA conferences [email protected] References: [1] Paul Wells, “Understanding Animation,” Routledge, New York, 1998. -
Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College
Claremont Colleges Scholarship @ Claremont All HMC Faculty Publications and Research HMC Faculty Scholarship 8-1-2012 Consonance and Dissonance in Visual Music Bill Alves Harvey Mudd College Recommended Citation Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 This Article is brought to you for free and open access by the HMC Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in All HMC Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Consonance and Dissonance in Visual Music Bill Alves Organised Sound / Volume 17 / Issue 02 / August 2012, pp 114 - 119 DOI: 10.1017/S1355771812000039, Published online: 19 July 2012 Link to this article: http://journals.cambridge.org/abstract_S1355771812000039 How to cite this article: Bill Alves (2012). Consonance and Dissonance in Visual Music. Organised Sound, 17, pp 114-119 doi:10.1017/ S1355771812000039 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 134.173.130.244 on 24 Jul 2014 Consonance and Dissonance in Visual Music BILL ALVES Harvey Mudd College, The Claremont Colleges, 301 Platt Blvd, Claremont CA 91711 USA E-mail: [email protected] The concepts of consonance and dissonance broadly Plato found the harmony of the world in the Pythag- understood can provide structural models for creators of orean whole numbers and their ratios, abstract ideals visual music. -
Dokumentation Oskar Fischinger, Pionier Des Cartoon
Anmerkungen zu „Oskar Fischinger: Ten Films“ Der Animations-/Cartoon-Film entdeckte in den zwanziger Jahren des vergangenen Jahrhunderts den Jazz als Mittel, den Bildern zusätzlichen Reiz zu verleihen. Einer der Pioniere dieser Filmgattung war der Deutsche Oskar Fischinger. Hier eine kurze Beschreibung zu Oskar Fischinger, die der Wikipedia entnommen ist. Oskar Fischinger (* 22. Juni 1900 in Gelnhausen; † 31. Januar 1967 in Los Angeles) war ein Filmemacher und Pionier des abstrakten Films. Er arbeitete auch als Spezialist für Trickeffekte. Nach einer Lehre als Orgelbauer arbeitete Fischinger als Maschinenbautechniker in Frankfurt am Main. 1922 erlangte er einen Abschluss als Ingenieur. Unter dem Einfluss von Walther Ruttmanns „Opus I“ wandte Fischinger sich dem abstrakten Film zu. Er entwickelte eine Wachsschneidemaschine, mit deren Hilfe er organisch-fließende Bildsequenzen erstellte. In Werbespots für „Muratti“ (1934/35) sind die Protagonisten zur Ballett-Musik marschierende Zigaretten. Im Februar 1936 emigrierte Fischinger in die Vereinigten Staaten, wo er unter Fürsprache von Ernst Lubitsch ein Angebot der Paramount in Hollywood erhielt. Unterstützt wurde die mittellose Familie von Paul Kohner und Charlotte Dieterle, die 1938 den European Film Fund gründeten. Im Dezember 1936 unterschrieb Fischinger einen Vertrag mit Metro-Goldwyn-Mayer (MGM). Später entwarf er für Walt Disney die Verfilmung der Toccata und Fuge in D-Moll für dessen Film Fantasia (1939). Fischingers Arbeiten und die seiner avantgardistischen Kollegen (Walter Ruttmann, Hans Richter, Viking Eggeling u. a.) gelten als Vorläufer des modernen Videoclips. Ab 1936 widmete sich Fischinger auch der Malerei und malte abstrakt. Oskar Fischinger ist mir erst seit einigen Jahren bekannt, als ich Recherchen zu „Fritz the cat“, „Betty Boop“ oder „Steamboot Willi“ machte. -
Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
Content and Meaning in Abstract Animation
Content and Meaning in Abstract Animation ……… Pamela Taylor Turner Assistant Professor, Kinetic Imaging Communication Arts and Design Virginia Commonwealth University Introduction Abstract imagery – forms pulled from observed objects, pulling inner meaning out, going beyond the quest to re-present what has already been presented. To create such imagery is an inherent tendency in human nature, albeit one that is often sidelined for more auspicious visual illusions such as realistic rendering of real humans in unreal narratives. Not that these visual achievements aren’t appreciated - they, too, have their place. But what about the ‘unreal’ or, more accurately, the ‘ultra-real’, internalized sector of individual experience? Talking about the content and meaning of abstract animation, for the practitioner or enthusiast, is like discussing why one eats chocolate or why we stand at the edge of the ocean, experiencing the sensation of the sand being sucked out from under our feet by the pull of the receding wave. Or why listening to a beautiful adagio can create such a stirring response. These experiences stand for themselves and need no explanation. For the uninitiated, or the viewer who has little to no encounter with abstract animation, however, these moving images can be initially disconcerting and hard to understand. If these are ‘moving pictures’ what are they pictures of? Think about music. It can be considered the most abstract of arts, with each composition having its own structure, melody, and rhythm – its own arrangement of notes. These sounds are not representational (although some classical compositions have included bird sounds or alluded to sounds in nature) but rather, they are arranged to create an aural experience. -
The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... .. -
Colorlight Music (Farblichtmusik) of Alexander László
The colorlight music (Farblichtmusik) of Alexander László by Jörg Jewanski In the 1920s, a multitude of artistic experiments were carried out involving various boundary-crossing combinations of music, painting and film. One of the most important experimenters in this area was the Hungarian Alexander László, who is known especially for his Colorlight music – Farblichtmusik is the original term in German. His new art was first performed in 1925 in Kiel, Germany. Archive Jörg Jewanski, Münster, Germany As you see on this drawing from around 1925, during a performance of László's colorlight music, the auditorium was divided into three parts: the foreground, with the audience; the stage, with the pianist; and a screen in the back, used for projection. There were a total of four large projectors and four smaller ones, with the latter mounted in front of the stage. László's goal was to mix music with colors and forms, in a new type of artistic synthesis, for which he coined the term Farblichtmusik. The pianist during the concerts was László himself. He was born in 1895 in Budapest as Sándor László, and he studied piano, composition and conducting at this city's conservatory. In 1915, he went to Berlin, Germany, where he changed his surname to Alexander, gave many piano concerts and seemed to be heading for a great career as a concert pianist. László was a very virtuoso pianist: From 1920 to 22, he recorded 31 Welte-Mignon-rolls, mostly with transcriptions of symphonies of Beethoven and Schubert. László also conducted the Dresden Philharmonic Orchestra, and he toured with that orchestra through Sweden in 1921. -
ACADEMY MUSEUM of MOTION PICTURES Collection Highlights
ACADEMY MUSEUM OF MOTION PICTURES Collection Highlights OVERVIEW The Academy Museum will draw from the unparalleled collection of the Academy of Motion Picture Arts & Sciences, which contains a vast range of motion picture production and history-related objects and technology, works on paper, still and moving images covering the history of motion picture in the United States and throughout the world. The collections include more than 12 million photographs, 190,000 film and video assets, 80,000 screenplays, 61,000 posters, and 104,000 pieces of production art. The collection also includes more than 1,600 special collections of film legends such as Cary Grant, Katharine Hepburn, Alfred Hitchcock, and John Huston. These special collections contain production files, personal correspondence, clippings, contracts, manuscripts, scrapbooks, storyboards, and more. The Academy’s collecting divisions work collaboratively to acquire, preserve, digitize, and exhibit the broad range of materials entrusted to their care by generations of filmmakers and collectors. The Academy Museum has actively been acquiring three-dimensional motion picture objects since 2008. Its holdings now number approximately 2,500 items representing motion picture technology, costume design, production design, makeup and hairstyling, promotional materials and memorabilia, and awards. MOTION PICTURE TECHNOLOGY The collection includes examples of pre-cinema devices, early and modern motion picture cameras and projectors, sound, editing and lighting equipment, and other landmark -
Oskar Fischinger Director, Cinematographer, Special Effects
1. Oskar Fischinger Director, Cinematographer, Special Effects Birth Jun 22, 1900 (Gelnhausen, Germany) Death 1967 Genres Avant-Garde/ Experimental Films, Science Fiction Avant-garde German animator Oskar Fischinger devised a special color process for making animated films. Fischinger started out as an abstract painter and since the age of 19 had been interested in the possibilities of using animation to interpret music and verse. One of his first efforts was an attempt to map out the emotional progressions and changes with in a play by Shakespeare. In 1920, using a self-designed wax-cutting machine, Fischinger began making his first short films. In the mid '20s he came out with a series of studies which he called "absolute film"; following the advent of sound, these studies were played to classical and jazz music to great effect. In the late '20s he worked with feature filmmaker Fritz Lang to create the special effects for The Woman in the Moon. After developing his color process in 1933, Fischinger created Composition in Blue and won a prize at the Venice Festival two years later. He then moved to the U.S. to create another short film and help create the special effects for The Big Broadcast of 1937 (1936). He next tried working for Disney and did a highly abstract "Toccata and Fugue" segment for Fantasia, but because studio heads considered them too experimental, they were radically modified. Fischinger got angry and left the studio. He did remain in the U.S. and continued experimenting and creating animated commercials. In 1949, Fischinger won the Grand Prix Award at the Brussels Exhibition for his evocative visual representation of the Brandenburg Concerto No. -
Artists' Statements
Artists’ stAtements Free PlAy meets GAmePlAy: iGotBand is an experimental video tumultuous and spontaneous, although iGotBAnd, A Video GAme game produced in collaboration with readily carried to unruly excess [2]. For imProVisers four undergraduate Worcester Poly- This is an equally apt definition for free technic Institute students [1]. The improvisation. The essential view of play Joshua Pablo Rosenstock, Department basic mechanic---the game’s system as freedom is important to improvisers, of Humanities and Arts, Worcester Poly- of player actions, causal relationships who associate the act with unfettering technic Institute, 100 Institute Road, and feedback---consists of a series of not only musical but also social and Worcester, MA 01609, U.S.A. E-mail: animated avatars, each of which is political boundaries. Ludus is the <[email protected]>. accompanied by a row of floating col- contrasting impulse of ordered rules, ABSTRACT ored blocks, representing suggested manifest in improvisation within estab- note sequences and corresponding to lished genre boundaries and in the The author presents an experimental musical the game controller’s colored buttons 20th-century literature of instruction- video game called iGotBand. Fans are central to the (Fig. 1). If a player plays the series of based or indeterminate compositions. game’s narrative, capturing a feedback loop in which notes “requested” by a particular avatar, Paradoxically, ludus constraints grant the audience shares responsibility for performance. that avatar is “captured” and becomes a the player agency, allowing choice- Recently, musical video games like “fan.” A fan has a finite attention span making to occur. Guitar Hero have burgeoned in the and will periodically request its own As a formal game, iGotBand typifies pop-cultural zeitgeist. -
Sullivan Goss DREWES FISCHINGER GORDIN
FOR IMMEDIATE RELEASE Sullivan Goss OCTOBER 30, 2020 A N A M E R I C A N G A L L E R Y 11 EAST ANAPAMU STREET SANTA BARBARA, CA 93101 (805) 730-1460 DREWES FISCHINGER GORDIN THE INVENTION OF AMERICAN ABSTRACT ART OCTOBER 30 - DECEMBER 28, 2020 THIS EXHIBITION WILL BE OPEN FOR SOCIALLY DISTANT VIEWING. GALLERY VISITS ARE LIMITED TO EIGHT MASK-WEARING GUESTS AT A TIME. YOU CAN ALSO SEE THE ENTIRE EXHIBITION ONLINE. SANTA BARBARA - Sullivan Goss is pleased to present its inaugural exhibition from the Estates of WERNER DREWES (1899-1985) and OSKAR FISCHINGER (1900-1967) in context with work from the Estate of SIDNEY GORDIN (1918-1996). All three artists are well-listed modernists whose works generally descend from the ideas being taught at the BAUHAUS school in Germany; that is, they are abstract, geometric, or even “non-objective” and concern themselves with the mechanics of perception and incorporating the rising prominence of science and technology into their processes and their content. Today, the works of these three artists are found in many important museum and private collections in America and in Europe. In late 2007, Sullivan Goss took on representation of the Estate of Sidney Gordin – an incredibly advanced modern artist who first gained fame at a major American sculpture exhibition held at the Metropolitan Museum of Art in 1951. The Gallery was fortunate. A bleeding-edge contemporary dealer in San Francisco named Paule Anglim had recommended the gallery as a reputable establishment with a good program fit for Gordin’s work.