標(biāo)題: Titlebook [打印本頁(yè)] 作者: injurious 時(shí)間: 2025-3-21 19:30 作者: 混亂生活 時(shí)間: 2025-3-21 20:59 作者: 大雨 時(shí)間: 2025-3-22 02:15
https://doi.org/10.1007/978-94-017-4424-9c in the 1960s. Screens now dominate multiple levels of public and personal space. Light shows, hefty screens and Vjing as real-time performance define popular music events. This pervasive mobility has also regenerated activity in public, multi-screen performances of formalist, graphic imagery by fi作者: 我怕被刺穿 時(shí)間: 2025-3-22 05:32
James R. Vevaina MD,Leonard L. Finz LLBlmost sculptural—attention to frame intervals and the kinetic visual rhythms and patterns they can create exposes the stroboscopic ‘pulse’ of cinematography and the limits of ‘a(chǎn)nimation’. More than this, creative use of flicker offers us, as subjects, a valuable opportunity to reassess our relations作者: 正常 時(shí)間: 2025-3-22 12:20
https://doi.org/10.1007/978-981-15-6803-9 stimulates unusual perspectives on objects, manifesting their energies and vibrancies in ways that would otherwise remain imperceptible to the human senses, and engaging therefore with concerns core to current ecological scholarship. While time-lapse sequences in dominant cinema anthropomorphize ma作者: 葡萄糖 時(shí)間: 2025-3-22 13:24
Legal Aspects of Sustainable Developmentations think especially hard about movement, time and, unsurprisingly, animation: what motivates something to move. In their remarkably different ways, . (2007–2008) and . (1987) undertake a radical thinking-through of change, respectively as mutation and its constituents, and the capacities of film作者: 葡萄糖 時(shí)間: 2025-3-22 19:49
https://doi.org/10.1007/978-3-031-12492-1thin a 3D CGI world can form the material basis when working within this mode of production. Also, drawing from Heidegger’s discourse on space, this chapter outlines a combined theoretical and a practical exploration into space as material where emptiness and the void are offered as methods for an i作者: 厭煩 時(shí)間: 2025-3-22 21:14
https://doi.org/10.1007/978-3-540-87652-6ng to a numerical system. As such, they might seem to follow in the footsteps of the classical Flicker Film genre. Crucially, however, in contrast to these paradigms, McClure works with technologies that are modified to such an extent that the results are arguably not films in any usual sense. His p作者: 無(wú)目標(biāo) 時(shí)間: 2025-3-23 03:13
Legal Basis for a National Space Legislation-positions ‘a(chǎn)nimation’ both as an extension of its own anticipated limits, and within a broader spectrum of moving-image practices, ultimately using Stezaker’s work as an exemplar of both a resistance to the way film is used in dominant experimental arts practice, and the way in which ‘a(chǎn)nimation’ ha作者: 發(fā)起 時(shí)間: 2025-3-23 06:07
Gendered Denials: Law, Policy and Practice,film and media. Beginning with a discussion of Ahwesh’s practice of appropriating CGI animated news footage in her recent films, the conversation then broadens to address questions of genre, affect, politics, violence, labour, gender, and finally, the aesthetics of ‘cuteness’ in animation, which the作者: Vldl379 時(shí)間: 2025-3-23 12:09
Central Bank Objectives and Autonomy,allation or interactive live performance. This chapter examines productions of five women artists active in these presentation modes whose creative outputs are imbued with themes of gender, social relationships, and urban and natural environments—Suzan Pitt, Tabaimo, Rose Bond, Marina Zurkow and Miw作者: perimenopause 時(shí)間: 2025-3-23 14:45 作者: 熱情贊揚(yáng) 時(shí)間: 2025-3-23 21:16 作者: deface 時(shí)間: 2025-3-24 01:32 作者: Heterodoxy 時(shí)間: 2025-3-24 04:39
Introduction,s book. It had been our intention to trace developments since the 1970s, but things have turned out rather differently in the end, and perhaps inevitably, given the incalculable explosion of all kinds of animation everywhere. The pervasiveness of animated phenomena, and the impossibility of capturin作者: 拋物線 時(shí)間: 2025-3-24 08:00
Lines and Interruptions in Experimental Film and Video,ary works by a range of artists, but it also lights on historical precedents, offering a perspective on aspirations and concepts that have been associated with linear aesthetics. Continuous lines and vectors, which partly reflect the illusion of continuity in film and video, have often been aligned 作者: Assignment 時(shí)間: 2025-3-24 12:33 作者: 痛恨 時(shí)間: 2025-3-24 18:52
Twenty-First Century Flicker: Jodie Mack, Benedict Drew and Sebastian Buerkner,lmost sculptural—attention to frame intervals and the kinetic visual rhythms and patterns they can create exposes the stroboscopic ‘pulse’ of cinematography and the limits of ‘a(chǎn)nimation’. More than this, creative use of flicker offers us, as subjects, a valuable opportunity to reassess our relations作者: ADORN 時(shí)間: 2025-3-24 22:03 作者: genesis 時(shí)間: 2025-3-24 23:24
Analogon: Of a World Already Animated,ations think especially hard about movement, time and, unsurprisingly, animation: what motivates something to move. In their remarkably different ways, . (2007–2008) and . (1987) undertake a radical thinking-through of change, respectively as mutation and its constituents, and the capacities of film作者: IDEAS 時(shí)間: 2025-3-25 05:04 作者: 非秘密 時(shí)間: 2025-3-25 09:43
Inanimation: The Film Loop Performances of Bruce McClure,ng to a numerical system. As such, they might seem to follow in the footsteps of the classical Flicker Film genre. Crucially, however, in contrast to these paradigms, McClure works with technologies that are modified to such an extent that the results are arguably not films in any usual sense. His p作者: landmark 時(shí)間: 2025-3-25 12:00 作者: 擴(kuò)大 時(shí)間: 2025-3-25 16:44
Cut to Cute: Fact, Form, and Feeling in Digital Animation,film and media. Beginning with a discussion of Ahwesh’s practice of appropriating CGI animated news footage in her recent films, the conversation then broadens to address questions of genre, affect, politics, violence, labour, gender, and finally, the aesthetics of ‘cuteness’ in animation, which the作者: 無(wú)辜 時(shí)間: 2025-3-25 22:46
,The Animated Female Body, Feminism(s) and ‘Mushi’,allation or interactive live performance. This chapter examines productions of five women artists active in these presentation modes whose creative outputs are imbued with themes of gender, social relationships, and urban and natural environments—Suzan Pitt, Tabaimo, Rose Bond, Marina Zurkow and Miw作者: 抵押貸款 時(shí)間: 2025-3-26 03:54
,“Coming to Life” and Intermediality in the Tableaux Vivants in , (Pucill, 2013) and , (Pucill, 2016ct photographs by Claude Cahun, which according to Peth? are the supreme examples of intermedial intensity. The duality of traditional categories of ‘a(chǎn)nimation–live action’ is examined through the writing of Tomas Lamarre. The crossing of time period and authorship is highlighted as an intensity of 作者: febrile 時(shí)間: 2025-3-26 05:52
Siting Animation: The Affect of Place,he viewing experience without significant change in her angle of view of the images on the screen before her. Through reference to examples of works by artists Rose Bond, Birgitta Hosea, Pedro Serrazina and Xue Yuwen, this chapter considers non-narrative animation that has been created to be part of作者: 懲罰 時(shí)間: 2025-3-26 09:26 作者: 節(jié)約 時(shí)間: 2025-3-26 13:15
Multilingual Norms in European Criminal Lawanimation–live action’ is examined through the writing of Tomas Lamarre. The crossing of time period and authorship is highlighted as an intensity of intermediality in film, which points to the potential significance of an artist animating the historical archive in film.作者: obeisance 時(shí)間: 2025-3-26 19:53
Limitation on the Production of Opium in the flow of moving-image media and a technological critique. ‘Lines and Interruptions’ looks at aesthetics that reflect these two poles, as well as instances in between which undermine the binary opposition of continuity/segmentation.作者: 招募 時(shí)間: 2025-3-27 00:06
Central Bank Objectives and Autonomy,hich were extremely generative for feminist film studies), the Japanese ethnocategory of mushi (蟲), and with the contexts of second and third wave feminism, I propose that these works offer complex and imaginative social and environmental alternatives, and an alternate spatial politics, to the viewers of these presentation modes.作者: 毀壞 時(shí)間: 2025-3-27 04:00
Lines and Interruptions in Experimental Film and Video, in the flow of moving-image media and a technological critique. ‘Lines and Interruptions’ looks at aesthetics that reflect these two poles, as well as instances in between which undermine the binary opposition of continuity/segmentation.作者: 縱欲 時(shí)間: 2025-3-27 06:17 作者: MIR 時(shí)間: 2025-3-27 11:34
Cut to Cute: Fact, Form, and Feeling in Digital Animation, broadens to address questions of genre, affect, politics, violence, labour, gender, and finally, the aesthetics of ‘cuteness’ in animation, which they contrast with Sergei Eisenstein’s influential writings on animation, particularly his theorization of ‘plasmaticness’.作者: 側(cè)面左右 時(shí)間: 2025-3-27 17:33 作者: 藕床生厭倦 時(shí)間: 2025-3-27 20:08
S. K. Chatterjee LL.M., Ph.D. (London)s on expanded forms of animation. The result is a wide-ranging set of essays which focus on specific aspects of practice, from detailed analyses of individual filmmakers’ work to consideration of some of the fundamental philosophical and aesthetic issues arising from expanded and experimental forms of animation.作者: Opponent 時(shí)間: 2025-3-28 00:05
Legal Aspects of Sustainable Developmentlving figures on the walls of the city. . . is a 30-minute film by Swiss artists Peter Fischli and David Weiss which documents in a series of long takes (with carefully concealed edits) a series of home-made devices which variously decompose, fall, crash and burn to produce a chain reaction of events.作者: 愛花花兒憤怒 時(shí)間: 2025-3-28 05:11
Introduction,s on expanded forms of animation. The result is a wide-ranging set of essays which focus on specific aspects of practice, from detailed analyses of individual filmmakers’ work to consideration of some of the fundamental philosophical and aesthetic issues arising from expanded and experimental forms of animation.作者: 洞察力 時(shí)間: 2025-3-28 07:56
Analogon: Of a World Already Animated,lving figures on the walls of the city. . . is a 30-minute film by Swiss artists Peter Fischli and David Weiss which documents in a series of long takes (with carefully concealed edits) a series of home-made devices which variously decompose, fall, crash and burn to produce a chain reaction of events.作者: opprobrious 時(shí)間: 2025-3-28 10:37
https://doi.org/10.1007/978-94-017-4424-9lm artists and delivered a renewed interest in a subjugated history that itself formed in 1960s youth culture. The computer’s domestication of avant-garde technique has elicited a response by this avant-garde’s contemporary successors through their continued use of film in performance, foregrounding the ‘perceptual as political’.作者: 輕觸 時(shí)間: 2025-3-28 18:00
James R. Vevaina MD,Leonard L. Finz LLBhip to the heavy image flow of our multi-screen culture. This chapter makes its case by concentrating on recent flicker work by Jodie Mack, Benedict Drew and Sebastian Buerkner and situates them within the lineage of experimental flicker practice.作者: 大門在匯總 時(shí)間: 2025-3-28 22:09 作者: 饒舌的人 時(shí)間: 2025-3-29 02:09
https://doi.org/10.1007/978-3-031-12492-1nvestigation into experimental 3D CGI animation practice. This chapter represents a study of materiality within the production and presentation of 3D CGI animation, arguing that the familiar, imagined, infinite space presented and realised within a 3D CGI world acts as its basis and status as material.作者: 我沒有命令 時(shí)間: 2025-3-29 04:30 作者: Cholagogue 時(shí)間: 2025-3-29 07:24 作者: 使增至最大 時(shí)間: 2025-3-29 12:09
https://doi.org/10.1007/978-3-031-04102-0 an expanded or site-specific experience in which the viewer must visit a particular location and walk around to experience the work. How does the experience of animation differ on embodied perception if the work is installed in three-dimensional space rather than from a fixed seating position?作者: 聾子 時(shí)間: 2025-3-29 18:42
Performing the Margins of the New,lm artists and delivered a renewed interest in a subjugated history that itself formed in 1960s youth culture. The computer’s domestication of avant-garde technique has elicited a response by this avant-garde’s contemporary successors through their continued use of film in performance, foregrounding the ‘perceptual as political’.作者: Obscure 時(shí)間: 2025-3-29 21:54 作者: 新星 時(shí)間: 2025-3-30 00:52 作者: AGONY 時(shí)間: 2025-3-30 04:24
,Emptiness Is Not ‘Nothing’: Space and Experimental 3D CGI Animation,nvestigation into experimental 3D CGI animation practice. This chapter represents a study of materiality within the production and presentation of 3D CGI animation, arguing that the familiar, imagined, infinite space presented and realised within a 3D CGI world acts as its basis and status as material.作者: 誰(shuí)在削木頭 時(shí)間: 2025-3-30 10:19
Inanimation: The Film Loop Performances of Bruce McClure,erformances are important for the way in which they probe the necessary and sufficient conditions for something to count as a film, through a disruptive questioning of what film movement is, via image-generated sound relations, which, though mutually dependent in a technical sense, are affectively disjunctive.作者: 減少 時(shí)間: 2025-3-30 13:31
