Titlebook

輕觸

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.

大門在匯總

饒舌的人

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.

我沒有命令

Cholagogue

使增至最大

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?

聾子

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’.

Obscure

新星

AGONY

,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.