[-empyre-] movement and animation

Johannes Birringer Johannes.Birringer at brunel.ac.uk
Tue Feb 9 07:34:17 EST 2010

hello all:

thanks for such a stimulating discussion, and i am also anxious to learn more about Japanese manga and how Tom reads  content/narrative,  and their impact, or impact of the "animation machine" on our perception of what movement is. 

In fact, i had wanted to ask  - after reading the elaborate and sometimes more technical analyses (provided by Tom) which i loved, what the presumption of "movement" is in the constellation movement  / animation or what Tom Lamarre from the beginning of his posts called "movement in animation".  

Is this a generally accepted simple term for you all, is "moving image" or (Deleuze) movement-image not something that needs much further and closer interrogation, if we were to approach it from our phenomenological sensibilities as movers and as people living and  perceiving through/with  movement?

What kinds of movement are we talking about, and when Tom addresses Japanese manga characters or avatars, and their "movement,"  what theoretical or physiological/kinetic or empathetic models are you applying, and what qualities are interpreted in your analyses of compositing (which were not so much addressing characters and how they move, human non human or other wise)?

When i am asking about how you interpret "movement" inside moving images or animation, i am addressing the animate in ways in which it affects our sense of bodilness and our grasp of what it means to move, or not, or acknowledge gravity or constraints, mirror them, or intuit them, and the psychogeogrpahies of our being in specific environments  -- and i have been wanting to ask this question since Thursday, when David Heckman wrote about:

>animation........[and] a whole bunch of really important cultural, technological, and economic questions that are related. While the visual aesthetics of animation are significant,
there is also an aesthetic dimension to the temporality of animation. How motion is represented is, in my opinion, often related to how space and time are experienced.  The constraints of space and time are significant both in how they contribute to our notions of reality and how they exist in tension with our desires.  >>

when we raise animation's relationship to our empathies and desires, and our moving through space,  i think we are also asking what Renate perhaps refered to in terms of real dimensional movement perception/expereince of projected images in architectural space; Renate is near  something I recently read in an intervierw with video artist Bill Viola, when he comments on how important it is for him to install his projections in a real space which, to him, can resemble a Renaissance chapel or the kind of virtual reailty projected in such immersive environments [cf. V. Valentini , 2009, "On the Dramaturgical Aspects of Bill Viola's Multi-media Installations," Performance Research, 14 (3), 54-64.]

I wonder what kind of movement reception we can infer from cosplay activities in urban space or from other dramatiurgies, and how such dramaturgies flow back to motion graphics, or whether industial practices are being adopted (variously) for other kinds of "movement" by  creative users , and how.

Johannes Birringer
dap lab
west london


Dear Tom and Lev,

I have enjoyed both of your perspectives on animation and visualization
this week.

Tom your discussion of assemblage made me think of my own process. I am
happiest when manipulating and assembling disparate forms mixing and
merging them to create flows of images, ideas, thoughts, writings and
actions. Both the content in the frame as well as the space between or
outside (as in another project or thought) comprise the work,.  But let's
take that one step further.  When my work is ready for exhibition I like
to see it  projected in an installation in real time within architectural
three-dimensional space (as opposed to screened on a flat surface), where
the movement of the human body is allowed to negotiate between creating
further layers and surfaces or interrupting others.

What do you all think about the classic ways in which we view animation in
the movie theater, or television and now you tube/the internet?  How could
other potential forms for reception unleash animation and the flows in
indeterminacy?   I don't think that 3-D animation comes near to what I'm


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