[-empyre-] chris sullivan p.S.

[Simon Biggs]

One of the best things about animation is that you are not so readily
constrained to Cartesian models of space, as in film and video, and the
requirement to achieve mimesis. You can create any world you wish and need
not worry whether it is internally coherent. Animation can be approached
like animated painting or collage and can afford the same latitude in
approaching space. In my own practice I work with discontinuous space, in
earlier work appropriating visualisation and compositional techniques from
pre-Renaissance Italian painting, gothic manuscripts or Indian and Persian
miniatures. For example, A New Life, at
hosted.simonbiggs.easynet.co.uk/docs/videos/newlife/newlife.htm, references
Mantegna¹s work whilst Alchemy, at
hosted.simonbiggs.easynet.co.uk/docs/installations/alchemy/alchemy.htm,
references various medieval manuscript sources. More recently I have been
working with multiple perspective visualisations of graphic information
where the points of view employed to render the multiple-perspective images
are the actual positions of the people simultaneously viewing the
information, either by using multi-user interactive immersive systems or
online multi-user peer to peer techniques. An example from some years ago is
found at www.babel.uk.net. A more recent example is at
hosted.simonbiggs.easynet.co.uk/docs/installations/stream/index.htm. Works
like this are trying to find a resolution to what is called, in VR and AR,
the ³problem of point of view². The solution suggested in these works is to
not recognise the problem.

More recently I have been working with the real-time re-mapping of acquired
close circuit video where the actions of people in the space cause the video
to be recomposed into other arrangements. Sometimes this can employ very
simple techniques, such as reversing the location of areas of interest in
the frame without reversing the images themselves. This immediately creates
a discontinuous series of spaces which are clealy co-located in time and
space but also very ³wrong².
hosted.simonbiggs.easynet.co.uk/docs/installations/blowup/index.htm
demonstrates such a project.

I am not sure if any of the work above is animation (perhaps an earlier
work, like A New Life, borders on it) but I know all of these works use
common techniques from animation.

Best

Simon


Simon Biggs

s.biggs at eca.ac.uk  simon at littlepig.org.uk  Skype: simonbiggsuk
http://www.littlepig.org.uk/
Research Professor  edinburgh college of art  http://www.eca.ac.uk/
Creative Interdisciplinary Research into CoLlaborative Environments
http://www.eca.ac.uk/circle/
Electronic Literature as a Model of Creativity and Innovation in Practice
http://www.elmcip.net/



From: Suzanne Buchan <sbuchan at ucreative.ac.uk>
Reply-To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
Date: Thu, 18 Feb 2010 10:06:11 -0000
To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
Subject: RE: [-empyre-] chris sullivan p.S.

I'm especially fascinated in what could tentatively be termed the paradox of
experiencing an architectural space without having the physical conditions
 to enter it with our bodies. Having said that, the Quays' and other puppet
animation 
 films raise a whole other set of queries, and I've written about that
extensively 
 in the book on their works.

I'd be interested to know how Chris and other artists here in empyre develop
their 
 spatial realms, how and if techniques affect, influence or limit these,
and what they find is challenging or freeing in the process. 


Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201


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