[-empyre-] animetic machines

Thomas LaMarre, Prof. thomas.lamarre at mcgill.ca
Mon Feb 8 02:26:01 EST 2010

Hi Tim,

I wish that I had read more of your work on the perspective machine while working on animations, because your way of introducing questions of movement into something that has been largely treated as static structure (one-point perspective) can (as you show) be re-activated in very interesting ways.  Similarly, the model of 'continuity' derived from continuity editing in film studies has proven fairly limited in addressing contemporary media. Your turn to the fold and enfolding are really useful.

Naturally, one can't help but to think of 'exfoliation' or explication or out-folding as well.  At least the political and social issues that crop up around the animations that interest me seem to demand some reckoning with this as well, and I wondered if you had thoughts on that, as an extension of your project as well.



On 06/02/10 10:20 AM, "timothy murray" <tcm1 at cornell.edu> wrote:

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
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