computer animation
+ 2 link απο το site του TED [http://www.ted.com/talks/mark_pagel_how_language_transformed_humanity.html]
[http://www.ted.com/talks/deb_roy_the_birth_of_a_word.html]
[youtube http://www.youtube.com/watch?v=rlATVg0D43w]
[youtube http://www.youtube.com/watch?v=rlATVg0D43w]
4.301 Introduction to Visual Arts
Assignment: Shaping Time
Using demonstrated production and editing techniques, make a 90 second experimental video.
Sound must be diegetic or self generated.
This unit asks you to express emotional qualities of your choice by creating a rhythm and/or
procession of events through editing. Use as material for your video your physical self in space,
possibly in relation to objects, props, processes or movements.
Exercises:
Make (2) one minute videos: one in which time appears to be moving quickly, the other in which
time appears to be moving slowly. (Consider using a tripod.)
Remix: Using a provided film clip, make a one minute video edited to convey an emotive quality
not ordinarily associated with the clip.
Reading:
Brand, Stewart, The Clock of the Long Now
Viola, Bill, “The Porcupine and the Car” and “I Do Not Know What It Is I Am Like”, Reasons for
Knocking at an Empty House
Gaensheimer, Susanne, “Moments in Time”, On Slowness, Lenbachhaus München
4.301 Introduction to Visual Arts
Assignment:Body Extension
Create an art work that exists as a “body extension,” a sculptural/architectural/corporeal supplement. Use your own body as a starting point for an exploration of the self, including psychological and physical aspects and concepts of identity. The second part of the assignment asks you to interact with your body extension in a way that significantly alters your experience of it. Your interaction can be represented by video documentation, or by live performance.
Exercises:
–
Bring in images that illustrate the concept of existing “body extensions.”
–
Use any appropriate means to visually represent an aspect of your body experience such as an inner emotional, physical or sensory process. Do not explain what you know about it, but what you experience, do not use language. Notation methods can include drawing, diagrams, collage, etc..
Readings: Horn, Rebecca and Celant, Germano, “The Bastille Interviews.” Rebecca Horn, 1993 Linker, Kate, “On Language and Its Ruses: Poetry into Performance.” Vito Acconci, 1994 Pejic, Bojana, “Being-in-the-Body, On the Spiritual in Marina Abramovic’s Art.” Abramovic, 1993
https://www.youtube.com/watch?feature=endscreen&v=sk4qxfrBE6w&NR=1
plnes grvyrd-net-pnt
This sublime adventure fantasy, replete with proto-steampunk imagery, touchingly conveys a message of ecological awareness. A young girl drops from the sky and lands in the arms of orphan Pazu—and not a moment later they’re on the run from a shadowy government agency and a band of pirates, both after the magic crystal she possesses. The chase leads them up and into the clouds to the floating airship Laputa, an overgrown fortress inhabited by gargantuan, dilapidated robots.
http://www.youtube-nocookie.com/embed/McM0_YHDm5A
The film tells the story of Chronos, the personification of time and the inability to realize his desire to love for a mortal. The scenes blend a series of surreal paintings of Dali with dancing and metamorphosis. The target production began in 1945, 58 years before its completion and was a collaboration between Walt Disney and the Spanish surrealist painter, Salvador Dalí. Salvador Dali and Walt Disney Destiny was produced by Dali and John Hench for 8 months between 1945 and 1946. Dali, at the time, Hench described as a “ghostly figure” who knew better than Dali or the secrets of the Disney film. For some time, the project remained a secret. The work of painter Salvador Dali was to prepare a six-minute sequence combining animation with live dancers and special effects for a movie in the same format of “Fantasia.” Dali in the studio working on The Disney characters are fighting against time, the giant sundial that emerges from the great stone face of Jupiter and that determines the fate of all human novels. Dalí and Hench were creating a new animation technique, the cinematic equivalent of “paranoid critique” of Dali. Method inspired by the work of Freud on the subconscious and the inclusion of hidden and double images.
Dalí said: “Entertainment highlights the art, its possibilities are endless.” The plot of the film was described by. Dalí as “A magical display of the problem of life in the labyrinth of time.”
Walt Disney said it was “A simple story about a young girl in search of true love.”
http://www.youtube-nocookie.com/embed/1GFkN4deuZU
>>παραδοξότητα και παραλογισμός.
“animation” –
“the act of producing ‘moving pictures’;
the technique, by means of which movement is given,
on film, to a series of drawings
(esp. for an animated cartoon)”
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