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Digital Animation As a Method of Inquiry

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Digital Animation As a Method of Inquiry Digital Animation as a Method of Inquiry Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Malory Spicer, B.S. Graduate Program in Design The Ohio State University 2015 Master's Examination Committee: Maria Palazzi, Advisor Candace Stout Janet Parrott Copyright by Malory Spicer 2015 Abstract The potential for artistic practice-led research opening up new “realms of possibility” has been embraced by the academy, and it is the time now for animators to reveal how their practice is a method for the generation of new knowledge, exploration, and connection of ideas as well as for communication (as it is most commonly conceived of). Traditional views of research writing do not serve the wealth of knowledge to be found in the making process of animation. My goal is to illuminate the notion that the self-reflective creative practice of digital animation used as a method of inquiry contributes to both the field as well as the academy overall. Animation as a method of inquiry can be seen at the heart of many experimental and independent creations throughout the art form’s history, as well as in the present. I frame my discussion by highlighting inquiry in the works of animators both historical and contemporary to bring to light how these methodologies are functioning in the medium. Inspired by the concept of ‘practice as research’ in arts education discourse - I present a case-study analysis of my digital animation practice and reflections on my experience as an animator, a designer, and a researcher in animation. I claim that animation as inquiry requires the artist-researcher to engage in a reflection throughout their making process. From retrospection and contemplation of my own creative practices, I describe how writing has become an integral part of my animation process – but I also argue that writing is not a requirement for animation as a method of ii inquiry. The process of making animation captures our ways of knowing in a way that is unique but just as valuable as writing, as long as the researcher can articulate it. Valuing the ‘messy texts’ that are generated as by-products of the creative process is one of several practices I suggest to highlight the discovery process involved in the making of animation. I expand upon the anthropological term ‘messy text’ to include both visual and words generated during the thinking and making processes. With writing being the privileged medium in academia, my research begins a conversation on the ways in which reflective thinking and writing are incorporated into Animation, Art, or Design programs. Animation as a method of inquiry will help to make our world visible through representation and interpretation, and if animators consciously reflect and contextualize their work, we can gain a better understanding of some of the infinite perspectives that construct our collective reality. iii Dedication This document is dedicated to my endlessly supportive family. iv Acknowledgements I would like to thank my thesis committee – Professor Maria Palazzi, Professor Janet Parrot, and Dr. Candace Stout - for guiding me with their knowledge, experience, and encouragement throughout this process. I am sincerely grateful to Maria Palazzi, my advisor and long-time mentor, for her patience as I took a winding path towards this research topic and for her unwavering support in all aspects of my academic career. I would like to thank all of the faculty and staff of The Advanced Computing Center for the Arts and Design as well as the Department of Design at Ohio State University. Thank you as well to all of my classmates who have walked this journey with me. v Vita 2008 ................................................................................................. Bellbrook High School 2012 ....................................B.S. Computer Science & Engineering, Ohio State University 2012-2015 ........................ Graduate Research Associate, ACCAD, Ohio State University Fields of Study Major Field: Design Specialization: Digital Animation vi Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments............................................................................................................... v Vita ..................................................................................................................................... vi Table of Contents .............................................................................................................. vii List of Figures .................................................................................................................... ix Preface................................................................................................................................. 1 Chapter 1: Introduction ....................................................................................................... 5 Who Am I? ...................................................................................................................... 9 Chapter 2: Background ..................................................................................................... 13 Defining Animation, Practice-led Research, and Approaches in Art & Design ........... 13 Purpose Statement ......................................................................................................... 20 Who has done what? Early Animation, Avant-Garde Filmmakers, and a Spirit of Inquiry ........................................................................................................................... 21 Who is doing what? Contemporary Animation Practice as Research ......................... 39 Chapter 3: What Digital Animation as a Method of Inquiry Means................................. 50 Defining “inquiry” in terms of animation ..................................................................... 50 Reflexive ................................................................................................................... 51 vii Emerging ................................................................................................................... 52 Intuitive & Rational .................................................................................................. 54 Holistic ...................................................................................................................... 56 Transformative .......................................................................................................... 58 The Need for Animation as a Method of Inquiry ......................................................... 60 A Lack of Visual Literacy......................................................................................... 60 A Climate of Constructed Realities .......................................................................... 62 The Dialogue between Writing and Making ................................................................. 65 Speaking in different languages ................................................................................ 66 Writing to understand - myself, my work, and my world ......................................... 68 “Sweet Cake” - A case for interdependent writing and making ............................... 69 But why writing? ....................................................................................................... 72 What ‘Digital Animation as a Method of Inquiry’ Looks Like .................................... 73 Collaborative Creation .............................................................................................. 74 Embracing the Medium............................................................................................. 77 Valuing ‘Messy Texts’ .............................................................................................. 79 Creating without Contriving ..................................................................................... 90 Chapter 4: Conclusions & Questions - Looking to the Future.......................................... 96 References ....................................................................................................................... 102 viii List of Figures Figure 1. Stills from Opus I, Walter Ruttman, 1921 ......................................................... 24 Figure 2. Still from Air Balloons, Charles Csuri, 2008 .................................................... 37 Figure 3. Still from Journey into the Ineffable, John Roome, 2009 ................................. 41 Figure 4. Detail of wood carving from Journey Into the Ineffable, John Room, 2009 ..... 42 Figure 5. Still from Is the Man Who is Tall Happy? Michel Gondry, 2013 ..................... 46 Figure 6. Stills from Animation Sequence Project - BEST OF - October 2012 ............... 65 Figure 7. Images from the pre-production process for Digya, Malory Spicer, 2013 ........ 67 Figure 8. Stills from the animated short Sweet Cake, Malory Spicer 2013 ...................... 70 Figure 9. ‘Messy Text’ from the making of ‘Digya’ ....................................................... 82 Figure 10. Examples of ‘Messy Texts’ in the Form of Visual Mappings ........................ 84 Figure 11.
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