[-empyre-] animetic machines

Gerry Coulter gcoulter at ubishops.ca
Sun Feb 7 02:28:21 EST 2010

I wonder.

Is the readiness to blame cinematic studies not another way of ingorning how animation (like cinema, and probably all media), is a shadow of its former self? Oh certainly, animation cicra 1960 was pretty bad, but how much better it was than the drivel which aheres to the sticky screens of today. With each passing generation the image is further degraded and, simultaneously, a new geneation of theorists gather to ignore its decline.

My best


From: empyre-bounces at gamera.cofa.unsw.edu.au [empyre-bounces at gamera.cofa.unsw.edu.au] On Behalf Of Timothy Murray [tcm1 at cornell.edu]
Sent: February 6, 2010 10:20 AM
To: soft_skinned_space
Subject: Re: [-empyre-] animetic machines

Hi, Tom,

Thanks ever so much for your stimulating post on  "animetic
machines."   I think you're really onto something important in
stressing the flow and force of the "continuous variation" of framing
and imaging as it traverses the interrelated histories of cinema,
animation, and new media.

Indeed, the legacy of film studies has shackled us with a rather
deadening sense of the economy of "continuity" to such an extent that
I suspect that the theoretical and artistic communities could well
have shied away from embracing the "continuous" given its confusions
with the "continuity" so important to the conventional editing of the
Hollywood legacy.

It's in a similar vein that I've been interested in "enfolding" into
the hegemony of the perspective machine  the concept, flow, and force
of the "fold" as a space/field/concept of continuous machinic
variation.   While I've tended to foreground the more baroque and
cinematic aspects of the fold in my  writing, your post and recent
book sensitize me to the fact that much greater attention should be
paid to the role played by the  legacy and conceptuality of animation
in the development of the digital fold, particularly within the space
of cinema.

Thanks ever so much for such a cogent summary of the very complex
argument you launch in The Anime Machine.


Timothy Murray
Director, Society for the Humanities
Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
Professor of Comparative Literature and English
A. D. White House
Cornell University
Ithaca, New York 14853
empyre forum
empyre at lists.cofa.unsw.edu.au

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