11 resultados para Experimental Animation
em Deakin Research Online - Australia
Resumo:
This paper explores from a phenomenological perspective the work of Australian Experimental Animator Neil Taylor (1945-), works situated between animation, performance and sculpture. Taylor’s animated scribbling repetitively and automatically inscribe the surfaces of flipbooks or note pads (Short Lives (1980-90)) and cash register rolls (Roll Film 1990 and Copy Copy 1998) often enhanced by hand-made ‘machines’ designed to facilitate and shape this idiosyncratic activity. Taylor’s work is informed by his successful wire-based sculptural practice and his 20 years experience of teaching animation to tertiary students and 8 years previously in the Australian Technical School system (a system that has since been dismantled but for which these animations remain as an aesthetic trace). His work can be generally situated inside an avant-garde project ‘that continues to explore the physical properties of film and the nature of perceptual transactions which take place between viewer and film.’ (John Hanhardt, 1976: 44) This is performative research into the minutiae of the moving image and its ability to register body gesture. Hanhardt, John G. (1976) The Medium Viewed: The American Avant-Garde Film. A History of American Avant-Garde Cinema. New York, American federation of the Arts.
Resumo:
Lynsey Martin’s short experimental Animations remain largely unknown internationally. His graphic 16mm films Approximately Water (4 minutes 1972), Whitewash (1973, 4 minutes), Interview (25 minutes 1973) and Leading Ladies (1975 5 minutes) are analysed for their technique and cultural position, artifacts of a productive if marginalized period of artist made films. These graphic films stand as critical works at the heart experimental filmmaking in Australia and speak through their design and production method to current trends in digital media. Martin’s work includes the use of collage and its erasure, the grain of the photographic image and handpainting and drawing imagery directly on the film surface. Martin deals with the graphic and material elements of the filmstrip, the nature of filmic movement and the nature of photography in public space. For martin his films deal with films deal abstraction and illusionism, elements of chance, the deconstruction of film language, the diary film and process as content. These films stand as historic aesthetic traces of an immediate hands-on approach to image making that came into crisis in Australia through the disappearance of technical education in the 1980s when Martin taught graphic design in technical schools.
Resumo:
This compact history of 100 years of abstract and experimental animation in Australia spans the earliest cameraless classics through to modern examples of what’s happening in the vibrant VJ scene. Australian animators and experimental filmmakers have been as innovative as anybody when it comes to creating abstract animation. This history is more elongated than many people believe, in part due to the inherent lack of commercial or popular screening opportunities for much of this sort of filmmaking. This program showcases a rich collection of films from this most elemental of all animation genres. It will be introduced by a small panel of filmmakers who will contextualise this history and explain its future.
Resumo:
This essay examines Neil Taylor’s (1945-) animations, situated between the moving image, performance and sculpture and in the shadows of his recognised wire-based sculptural practice. Taylor’s animations automatically inscribe the surfaces of flipbooks and note pads, (Short Lives 1980-90) cash register rolls (Roll Film 1990) and are enhanced by hand-made ‘machines’ (Copy Copy 1998) designed to shape this idiosyncratic activity. These short films are part of an avant-garde project ‘that continues to explore the physical properties of film and the nature of perceptual transactions which take place between viewer and film.’ (John Hanhardt, 1976: 44). Taylor’s practice is additionally placed, through Vilem Flusser’s ‘technical image’ in relation to the ascendancy of digital culture, and Pierre Bourdieu’s ‘habitus’ is used to frame both Taylor’s art and teaching practice, in order to examine the discounting of the technical classes that these fields of production consistently perform.
Resumo:
"Traum A Dream ... can be designated as activating object, with all lines of thought and action leading through it. Traum A Dream is a film that comes out of a life-long experimental animation practice; a body of work that has been evolving over 35 years. This is now more than half the time I have carried a trace of the trauma in my real and lived-in body, some of the personal events, which I reveal here.
This film was produced at a time when I was coming to terms in my personal life, remembering abuse from childhood. Traum A Dream emerged after an unsuccessful attempt to lay bare that abuse in a previous project, which co-incided with the conclusion of my CD-Rom Diary V 3.2 production."
"A representaion of traumatised space depicting a person who is consumed by a body of pain, consumed by fire. Slowly something is remembered." www.innersense.com.au/mif/debruyn_films.html
Resumo:
"This time lapse video work of De Bruyn's evidences the bold rythmic structures found in his nahd-painted 16 mm film work. A prolific fimmaler, de Bruyn is a master of his craft and shows in this work that that mastery knows no bounds in this format." Fractured Light exhibition catalogue
Resumo:
The recent public multi-screen performance of formalist experimental animation by film artists such as Guy Sherwin, Bruce McLure and Greg Pope respond to the immediacy and speed of new digital technologies, the rise of Vilem Flusser’s ‘technical image’ and the consequent disappearance of reflective space identified by Prensky, Kroker, Virilio and Postman. Flusser’s ‘technical images’, benefiting from the digital’s painterly hyper-malleability structure and content, signifier and signified, so much the subject of Peter Gidal’s arguments in support of his concept of ‘materialist film’ in the 1970’s. In the digital those formal editing strategies used to create the ‘technical image’ within analogue image construction that traditionally took place in the artist’s studio within the camers and optical printer are now executed inside the computer, having migrated into the post-production process. Within the work of these artist’s recent multi-screen presentations these manipulations are now-elusively experienced in live ephemeral performance, re-forming and laying bare those processes that have been rendered invisible in digital technology. The significance of this work partly lies in its ability to communicate historical information a-historically. Guy Sherwin and Lynn Loo’s method in their play with 16mm film flashes and after-images and Sherwin’s mirror performance further reproduces Goethe’s method from his Theory of Colours (1840). Greg Pope’s scratch performances re-enact the operation of Konrad Zuse’s 1930’s computing machine. Affinities are drawn between Bruce McLure’s immersive overpowering sonic and flicker performances with Edwin Land’s 1960’s experiments on colour constancy on which Land’s Retinex Theory of colour is based.
Resumo:
Empire re-animates found historic stereographic photographs predominantly of Melbourne’s city centre between 1927 and 1940 when the colonial trace was slowly receding. Melbourne’s main Flinder’s Street Intersection is unsettlingly transformed into a Cubist perceptual maelstrom through repetition and flicker.
Resumo:
Dirk de Bruyn is one of Australia’s most successful and acclaimed abstract animators. It may be too soon to truly call this program a ‘retrospective’ but de Bruyn’s career none-the-less spans a significant portion of the history of abstract and experimental animation in Australia. His films are as addictive as they are bold and uncompromising examples of the genre. He displays a remarkable ability to learn the lessons gifted us by earlier greats and yet produce a flowing, beautifully realised river of imagery that is all his own. His film contain, in many instances, the spirit and ghost-narratives of his own life. MIAF is thrilled to be able to present this program and the chance to have him discuss these works in person will be one of the festival highlights.
Resumo:
Dirk de Bruyn is one of Australia’s most successful and acclaimed abstract animators. His career spans a significant portion of the history of abstract and experimental animation in Australia and his films are as addictive as they are bold and uncompromising examples of the genre. He displays a remarkable ability to learn the lessons gifted us by earlier greats and yet produce a flowing, beautifully realised river of imagery that is all his own. MIAF’s look at the various iterations of de Bruyn’s work continues with this special one-off live performance in which he will utilise three projectors to create an experience that blends a suite of moving image artwork drawn from his practice with an improvised sound track. Hosted by the VCA, this performance is FREE and will take place in VCA’s Founders Gallery at 234 St Kilda Rd just a few short minutes walk from ACMI.