[-empyre-] thanks to all

Mon Mar 1 12:57:35 EST 2010

Hello all, and Renate particular for putting us together, 
interesting perspectives, high brow and low brow, and lot's of hope I think for

animations future. looks like an interesting animated feature is coming out The
Mystery of Kells, it is a cross between, twice upon a time, and Samaria Jack,
with percepolis simplicity. can't wait. surely not photo realism. everyone keep
your eyes pealed for my feature Consuming Spirits, this summer. 
here is a picture. all good things, Chris Sullivan.

Quoting Christopher Sullivan <csulli at saic.edu>:

> Hi Richard, there are plenty of non-linear narrative animations, not too
> many
> feature ones, but then there are not all that many feature length
> animations.
> here are a few animators, off the top of my head, and the Quay's as well;
> janie
> Gieser. Lewis Klahr, Nancu Andrews, me Chris Sullivan, Jim Trainor, Simon
> Pummel, Amy Kravitze, Karen Yasinsky, Lilli Carre, Patrick Smith, Don
> Hertzfeld, Rose Bond, Joshua Mosely, Jim Duesing, Pritt Parn, Brent Green,
> Piotr Dumala, and check out the nice work funded by the organization,
> Animate
> Projects, great british wonders. have a good night. Chris.
> 
> 
> 
> Quoting Richard Wright <futurenatural at blueyonder.co.uk>:
> 
> > I always liked the quality in the Quay films where time seems to lose  
> > all its reference points. Those shots of dust settling or shadows  
> > dancing where you are no longer sure whether you are watching in  
> > "realtime" or over the course of hundreds of years.
> > 
> > This also made me wonder why certain kinds of narrative and time are  
> > almost never used in animation. For instance, why are there no non- 
> > linear narrative animations? They are not that uncommon in live  
> > action films - I am thinking of Memento that goes backwards in story  
> > time (with one b/w stream going forwards), Amores Perros that jumps  
> > repeatedly backwards and forwards, The Hours with its parallel  
> > storylines running in different historical times periods. The only  
> > example of an animated film that has anything like these kinds of  
> > narrative structure is Waltz with Bashir with its persistent  
> > flashbacks. And that was made by a live action director.
> > 
> > I wonder if this has something to do with the way that animators  
> > work, concentrating as they do on building up a sequence of actions  
> > bit by bit, are they generally less directed towards the larger  
> > narrative structures of time? By focusing on the duration of the  
> > immediate event, is it as though they assume a sort of "short term  
> > memory"?
> > 
> > Richard
> > 
> > On 25 Feb 2010, at 03:34, T Goodeve wrote:
> > 
> > > Hello everyone:
> > >
> > > Sorry I’ve been so lax as a discussant-generator but here I am with  
> > > some thoughts and reflections. If it’s okay just an aside first:  
> > > off the top of my fingertips—many of you make stuff you love and  
> > > live for, also write about with great passion, and the animated  
> > > worldscape is still and ever will be one of magic and wonder I hope  
> > > (you have the romantic here), i.e., endless visual and aural  
> > > reimagings via its ability, or definition, whether anlogue or  
> > > digital, to do anything and everything within and beyond the  
> > > spacetime continuum. But sometimes I miss the basic humor, wonder,  
> > > and sheer “wow” of the simplicity of animation. I mentioned in a  
> > > post. The blank page and the dot. We lose track, myself included,  
> > > analyzing the life out of things sometimes and to do this with  
> > > animation seems particularly perverse. I realize I set myself up  
> > > for a bit of ridicule here but alas, someone has to speak up for  
> > > the puppet doll in Street of Crocodiles who cradles the bare light  
> > > bulb baby in its arm and brings it back to life with light, or the  
> > > frayed and earnest bunny who does his best to keep up with the  
> > > spinning demented ping pong balls and a pair of disembodied knee  
> > > socks and slippers moving up and down on tip toes in the Quays “Are  
> > > We Still Married” —up and down, up and down. I think Christopher  
> > > Sullivan was trying to get at this but not everyone is out to do  
> > > what he does nor interested in the way I am or the Quays or for  
> > > that matter, those who use it for visualization, but depending on  
> > > why you do what you do we are here to discuss the breakthrough  
> > > insights of theory and technology and animation, but it’s just  
> > > sometimes I’ve felt we’ve let the technology get away with doing  
> > > too much of the talking, not that it doesn’t have a lot to say.
> > >
> > > But a more hardy, if overly general, topic is temporality and time,  
> > > now-time vs say the way cinema’s capturing, sculpting, control of  
> > > time was such a huge part of its magic. Siegfried Kracauer describe  
> > > in an essay how powerful just “having” the wind in the trees —a  
> > > moment— captured on film is for him. How different from one of my  
> > > students when I showed some film, perhaps Tarkovsky,” Why does he  
> > > keep leaving the camera on the trees so long?” Students of cinema  
> > > are different. We know this: ADD and short digitized attention  
> > > spans. But how do you see this in your worlds of animation either  
> > > in terms of resistance or something emerging that is part of this.  
> > > One thing I thought was very relevant was the post of the shift  
> > > tilt which is amazing and disturbing in this respect. Lots to say  
> > > about it: not only the time lapse but the way the world is  
> > > miniaturized. Here the real profilmic world is literally made into  
> > > an stop motion animated “cartoon”. One could talk about the Quays  
> > > work and time – both in terms of period and affect; rhythm and  
> > > texture of their worlds (In Absentia, the film they made with  
> > > Stockhausen, is in some ways about light/time, metaphorically  
> > > written all at once over and over (the character n the film) hence  
> > > no time. Endless time. Speed of light
  .) But I do not know what  
> > > people have seen. I am more interested in hearing you all discuss  
> > > temporality and animation “today”—both theoretically and examples.  
> > > These discussions are so energetic. They amaze me.
> > >
> > > Thanks, Thyrza
> > >
> > >
> > >
> > > On Wed, Feb 24, 2010 at 12:39 AM, christopher sullivan  
> > > <csulli at saic.edu> wrote:
> > > Hi Richard, I am the guy that wants animations about love, hate,  
> > > birth, sex, and
> > > death.(not necessarily in that order)
> > > your rules of engagement leave me a little cold. why would this be  
> > > a goal?
> > >
> > > "greatest possible distance between
> > >  human senses and computer code that is achievable through the
> > >  simplest material means"
> > >
> > > what part of the human condition would make this a mandate?
> > > why would this be effective, or rather effective at doing what?
> > > I know I am being a little aggressive here, but this is coming from
> > > someone who does not think Data means anything, nor does emulsion.
> > >
> > > chris.
> > >
> > >
> > >
> > 
> > 
> 
> 
> Christopher Sullivan
> Dept. of Film/Video/New Media
> School of the Art Institute of Chicago
> 112 so michigan
> Chicago Ill 60603
> csulli at saic.edu
> 312-345-3802
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
> 

Christopher Sullivan
Dept. of Film/Video/New Media
School of the Art Institute of Chicago
112 so michigan
Chicago Ill 60603
csulli at saic.edu
312-345-3802
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