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Extracting the Abstract Choreographing Time: Developing a System of Screen-less Animation Carol MacGillivray ([email protected]) Thesis Submitted in partial fulfilment of the requirements of the University of London for the degree of Doctor of Philosophy © Carol MacGillivray 17/3/2014 Choreographing time: Developing a system of screen-less animation, March 2014 DECLARATION I hereby declare that except where explicit attribution is made, the work presented in the thesis is entirely my own, including all diagrams and pictures. Carol MacGillivray March 2014 i Choreographing time: Developing a system of screen-less animation, March 2014 ABSTRACT The Diasynchronoscope is an experimental medium that draws on tropes from animation, film and Gestalt grouping principles to create the perception of screen-less apparent motion. Each developing artwork reveals more formalisms and boundaries inherent to the medium. Through documentation and discussion of selected artistic case studies this research interrogates the Diasynchronoscope as an emergent new medium. Formalisms are developed through studio practice and tested in exhibited artworks. The results of these evolving interactions are observed and contextualised using existing frameworks from Film Studies and Psychology. Inside the Diasynchronoscope static objects are grouped according to Gestalt laws and animation principles to create sequential visual cues that, when lit with projected light, demand selective attention; thus creating the illusion of animated movement. The animation is immersive, sharing the same space as the observer so that they perceive a continuous flow of movement that resembles, at a physiological level, interaction with a real-life moving object. The technique has been named the ‘diasynchronic’ technique and the system; the ‘Diasynchronoscope’. The name combines diachronic, (the study of a phenomenon as it changes through time) with synchronous and scope (view). In being so named, it evokes the early animation simulators such as the phenakistoscope and the zoetrope, regarded as direct ancestors of the project as they too function both as art objects and experimental media. This research intends to show that the Diasynchronoscope is a new medium for experiencing apparent movement, and as such, it offers an opportunity for updating some theorisations in Visual Studies. It is a further conjecture of this thesis that as a system capable of producing replicable experiments of enactive perception of apparent motion the Diasynchronoscope could provide a useful new tool for perceptual psychologists and that some discoveries made in this hybrid study may provide potential useful cross-over areas of study. ii Choreographing time: Developing a system of screen-less animation, March 2014 ACKNOWLEDGEMENTS Taking doctoral study at a mature age has been a fascinating journey and I am indebted to my supervisors, Prof. Frederic Fol Leymarie and Prof. Janis Jeffries, my fellow researchers in Arts and Computing, and other professors at Goldsmiths for helping me on the way. Special appreciations to Marco, Mark and Karina for pointing me in this direction. A big thank you to my collaborator, Bruno Mathez who has shared the artistic diasynchronic journey with me. My family’s unflagging support has been above and beyond anything I could hope for. Both my parents have been inspirational - it is a great sadness to me that my father died in 2010 and so will never read this thesis or see the final artworks; I humbly thank my mother, Ruth who has never failed to encourage me and generously proof-read so many drafts of dense and impenetrable prose. She offers this helpful hint to the reader: Because the name ‘Diasynchronoscope’ is such a mouthful to read, she suggests substituting ‘D-Scope’ throughout. I think it is a good suggestion. Thanks to all my friends for being interested and taking part in the journey, including all those who helped with the artworks and special thanks to Martin Kemp and John Kennedy for their continued support and enthusiasm for the D-Scope. Further thanks to Agnieszka Piotrowska and Etienne B Roesch and my brother Rob MacGillivray for their all-round expertise and generosity in agreeing to read my work, for Paul for his encouragement at the final hurdle and to my examiners Ernest Edmonds and Nick Lambert for their helpful suggestions at the viva. Finally a very special acknowledgement to my son Sam, who has had to suffer the indignity of having a student mother whilst he himself is a student… So to family, friends and colleagues who have been part of the journey; a very heartfelt ‘Thank you!’ iii Choreographing time: Developing a system of screen-less animation, March 2014 TABLE OF CONTENTS Contents Choreographing Time: Developing a System of Screen-less Animation .......................................... DECLARATION .............................................................................................................................. i ABSTRACT .................................................................................................................................... ii ACKNOWLEDGEMENTS ............................................................................................................ iii TABLE OF CONTENTS ............................................................................................................... iv 1. INTRODUCTION – EXTRACTING THE ABSTRACT ........................................................... 1 1.1. ARTIST PRACTITIONER RESEARCHER........................................................................ 2 1.1.1. ANALOGUE ROOTS – ONE THING AFTER ANOTHER ........................................ 4 1.1.2. CLOTHES PEGS AND PRATFALLS ......................................................................... 8 1.2. SCOPE AND AIMS OF THIS STUDY ............................................................................... 9 1.3. HYPOTHESES AND RESEARCH QUESTIONS ............................................................ 12 1.4. METHODS AND GROUNDED THEORY ....................................................................... 13 1.5. CONTRIBUTIONS TO KNOWLEDGE ........................................................................... 17 1.6. STUDIO PRACTICE ......................................................................................................... 18 1.7. HOW IS THE DIASYNCHRONOSCOPE EXPERIENCED? .......................................... 21 1.7. DATA COLLECTION ....................................................................................................... 31 1.8. FRAMING THE FRAMELESS ......................................................................................... 33 2. FOCAL THEORIES ................................................................................................................. 35 2.1. CHANGE MADE MANIFEST - THE THEORY AND PRACTICE OF ANIMATION .. 35 2.2. THE GESTALT OF GESTALT ......................................................................................... 46 2.2.1. GESTALT PHENOMENA ......................................................................................... 53 2.3. EMBODIMENT – W.Y.S.I.N.W.Y.G. ............................................................................... 66 2.3.1. EMBODIED COGNITION ......................................................................................... 67 2.3.2. TOP-DOWN AND BOTTOM-UP PERCEPTION ..................................................... 71 iv Choreographing time: Developing a system of screen-less animation, March 2014 2.3.3. APPARENT MOVEMENT......................................................................................... 80 3. CONTEXTUALISING THE DIASYNCHRONOSCOPE ........................................................ 86 3.1. THE ANCESTORS OF THE DIASYNCHRONOSCOPE ................................................ 86 3.1.1. THE ANIMATION HERITAGE OF THE DIASYNCHRONOSCOPE .................... 89 3.1.2. THE PROJECTION HERITAGE OF THE DIASYNCHRONOSCOPE ................... 91 3.1.3. THE HERITAGE OF 3D DEVICES OF WONDER .................................................. 93 3.2. MODERN CONTEXT – NEW HYBRIDS OF IMMERSION AND INTERACTION .... 96 3.3. ARTISTIC HYBRIDS ........................................................................................................ 98 3.4. ARNHEIM AND THE ONTOLOGY OF FILM ............................................................ 105 4. PARTNERSHIP AND STUDIO PRACTICE ......................................................................... 113 4.1. PARTNERSHIP ............................................................................................................... 113 4.2. ESTABLISHING STUDIO PRACTICE WITH SWING AND BOUNCE ....................... 114 4.3. DATA COLLECTION ..................................................................................................... 124 4.4. PLAYING WITH DATA ................................................................................................. 128 5. THREE CASE STUDIES OF THE DIASYNCHRONOSCOPE ............................................ 132 5.1. CASE STUDY ONE: GESTALT CIRCLE ....................................................................... 132 5.1.1. BACKGROUND ....................................................................................................... 132 5.1.2 TECHNICAL METHODS ......................................................................................... 133 5.1.3. REFLECTIVE OBSERVATION .............................................................................. 137 5.1.4.
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