History of animation
and all different types, no matter what section you choose to go into they all
tend to interlink together.
Tony fry is a
design critic –
There is something about animated practice that is
subjective. It’s a personal vision. Design has general communative ideas.
Animation leads towards the person and can come across more complicated.
Tim Hope
animation ‘The Wolfman’ 1999.
He worked on the mighty boosh . Uses animation in a loose
crafted way and goes back to older techniques within animation. The animation
shown was used in a later video game commercial. He likes to use a more
simplified animation. Tim Hope is also wildly known for his music videos for
Coldplay.
Newer companies of animation have versions of the zoetrope.
Disney have created their own version. They introduce a strobbing within their
animation to add to the animation and make it like a zoetrope. Created in 1834
The video shown was at Pixar – Disneyworld.
Pixar and studio ghibli are passionate about this type of
animation and the links and movement they can introduce within their animation.
Its animation at its purists form.
Max Fleischer,
1915 rotoscope
You film some stuff and it projects onto the paper, which
allows you to draw around the figure. It introduces slow life like animation.
If you just work from hand it makes it hard to create anything smooth or
stable. Low form of animation actively pushes against the smoothness within
animation.
There’s interplay between the outside work and with the
animation. This technique has been drawing onto paper.
Koko the clown 1916
Later on instead of having to constantly draw onto paper you
can start to produce it digitally.
Winsor mccay
Believed you have to look at the whole animatied practice at
the tension between the industry. The ways in which you can smooth out animated
processes and how it can portray the different ideas of animation
When he does his comic strips you look at an incredible
surrealistic world he creates. It’s all about the dreams of a young child. The
dreams are all whorped hallucinogenic. They are often compared to a dream like
space.
Gertie the Dinosaur, 1914.
The animation is unique and plays/toys around the limits of
the animation at the time. Its like a conversation or a set of instructions
that are connected with what the dinosaur has to follow.
It’s like a key frame animation in a very crude way. They
isn’t really a story to it but a spectacle that’s saying ‘look what we can do’.
It gives the illusion and the possibility with what the future can hold. It’s
show casing the technology.
Many of the earlier animations come across as quite strange
because they are all about building the idea of technology and animation but
without an actual storyline, unlike Comics where it builds the world around
itself.
Cell animation came about in 1915.
If you look at software tools you can see the development of
animation through the basic tools you can use but are main factures that get
incorporated within an animation.
Through different approaches to look at the history of
animation is through realism and anti-realism.
Realist animation you look at everything that is stable,
here we are, heres the world.
Likes to have a character and you can predict the behaviour
of the character. Cause and effect. We expect it to behave in a certain way. A
beginning middle and an end. They are all things that connect with the
commercialisation within cinema, Hollywood productions. It likes to be stable
and have a closer within the storyline.
Animation argumentatively comes out of anti-realism.
Emile Cohl - 1908
Fantasmagorie
The first animation known to record, you cant really
understand the whole storyline.
Bruce Bickford –
Prometheus’ Garden, 1988
The animation is smoother than Emile Cohl’s animation.
Mikhail Bakhtin
The earliest animation technologists got connective
qualities to them.
Most early animation are abstract and very experimental
because it’s a new form they are just trying to see what it can do. Very
different styles are emerging but very infrequently and without a storyline to
go with them. Almost like hallucinations.
The beginning was very bauhaus, Kandinsky had great
influence within the beginning of animation.
How do you look at abstract animation?
The critique is a very abstract animation. The abstract
animators indented the animations for just seeing what they could do and create
rather than actually watch it.
Rhythm in Light, 1934
John Whitney - Yantra,
1957
Uses different techniques other than digital to create his
animation
12th October 15
Carl Disalvo – Advertising
designer
‘This is what democracy looks like’, 1999, antagonism,
protest through design. A public display
We have a noise pluralism, he tries to sight contempary
art-design projects.
Million Dollar
project, he looks into people in prison. How did they get there? How were
they dispersed throughout the city. He uses a heat map to show who’s there and
where they are scattered.
Art and design can draw attention to these sort of problems.
Disalvo is trying to get us to think about society and get
an idea how noisy they are and the movement of people. He thinks we’ll have a
more productive way of thinking within the society when we know what’s going on
and what to take into consideration when looking into the different aspects of
society within this city.
Design is very typically in the service of politics. E.g. it
works for politics.
We live in a representative democracy. What he’s saying is
that’s the point the interface. You lose the noise, you lose your identity
through your vote and having someone else run the country for you. All of the
differences of the group level of noise is lost by the representation of the
MP.
The kind of projects he sights is all about listening to the
grass routes of the noise of the people. He likes metaphors of heat mats to you
can see the representation of the country. He takes the seemly straight forward
politics rules and trying to find he noise within that and the actual noisy
reality that they purposely miss through media.
Reason for people not to vote is saying if you do it’s a
representation of a lie.
Twentieth century
multiplicity – Book that surfaces these ideas
An experiment of multiplicity just but stretching the middle
finger.
Henry Adams is
the first person to use the term multiplicity.
