[-empyre-] animetic machines

[Timothy Murray]

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.

Best,

Tim
-- 
Timothy Murray
Director, Society for the Humanities
http://www.arts.cornell.edu/sochum/
Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
http://goldsen.library.cornell.edu
Professor of Comparative Literature and English
A. D. White House
Cornell University
Ithaca, New York 14853