tag:blogger.com,1999:blog-5632448766550968662024-03-04T21:18:27.820-08:00Hostile Pitiable'Animation is unlimited: when you get it right, it is a phenomenal direct form of communication.' Tim HopeI Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.comBlogger38125tag:blogger.com,1999:blog-563244876655096866.post-27109247165206950622017-02-09T23:47:00.003-08:002017-02-09T23:47:41.357-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-30092601031033117462012-06-04T15:01:00.001-07:002012-06-04T15:01:22.215-07:00Hostile Pitiable<div dir="ltr" style="text-align: left;" trbidi="on">http://www.youtube.com/watch?v=jIt8vZGn82I</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com1tag:blogger.com,1999:blog-563244876655096866.post-35283682382091898072012-06-02T04:35:00.000-07:002012-06-02T04:35:06.345-07:00To be submitted<div dir="ltr" style="text-align: left;" trbidi="on"><a href="http://www.youtube.com/watch?v=pJGw3PMlmlM&list=LLRVIFGAwdWlyB8noA-E19FQ&feature=mh_lolz">Hostile Pitiable</a></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com1tag:blogger.com,1999:blog-563244876655096866.post-30166086826881195022012-06-02T04:33:00.000-07:002012-06-02T04:33:08.451-07:00Hostile Pitiable<div dir="ltr" style="text-align: left;" trbidi="on">http://www.youtube.com/watch?v=pJGw3PMlmlM&list=LLRVIFGAwdWlyB8noA-E19FQ&feature=mh_lolz</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-57145357739692586862012-05-31T11:59:00.002-07:002012-05-31T11:59:25.613-07:00<div dir="ltr" style="text-align: left;" trbidi="on"><a href="http://www.youtube.com/watch?v=WOhh57xx9uA">Hostile Pitiable</a></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com2tag:blogger.com,1999:blog-563244876655096866.post-59744659302514861602012-05-23T22:09:00.000-07:002012-05-23T22:09:37.751-07:00Pledge Rough Cut Video<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dydgwA7x3OTjj-k_W3uFYOC867SRRd8DqFmVKO1vXC0reAl_-z7o2Xw5p9cRgyMsJFHpaDpWA6_pEKJ2z8l' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br />
</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-38985255821220107722012-05-23T03:41:00.000-07:002012-05-23T03:41:01.487-07:00Pledge Me Updates and Rough Cuts<div dir="ltr" style="text-align: left;" trbidi="on"><a href="http://www.youtube.com/watch?v=TwQw0yXQQ4M">http://www.youtube.com/watch?v=TwQw0yXQQ4M</a> <br />
<br />
<a href="https://www.pledgeme.co.nz/Crowd/Details/219">https://www.pledgeme.co.nz/Crowd/Details/219</a> </div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com1tag:blogger.com,1999:blog-563244876655096866.post-26703118160604976252012-05-09T11:36:00.001-07:002012-05-09T11:36:45.316-07:00The whale (painting on the glass animation)<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/zJjzwz2st3A?fs=1" width="480"></iframe>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-63970840411540228302012-04-30T16:50:00.000-07:002012-04-30T16:50:00.268-07:00Documentary Conventions to be Implemented in the Animation<div dir="ltr" style="text-align: left;" trbidi="on"><br />
‘legitimate’ representation of reality<br />
<span style="color: lime;">Yes, although with a deeper subjective, perception.</span><br />
<br />
indexical quality of images<br />
<br />
<span style="color: lime;">Yes, maps, television footage, personal interview footage</span><br />
<span style="color: lime;"><br />
</span><br />
referential quality of sounds<br />
<br />
<span style="color: lime;">Sound connected both to the interview itself and supporting the statements and experiences of the interviewee</span><br />
<span style="color: lime;"><br />
</span><br />
naturalistic lighting and sound<br />
<br />
<span style="color: lime;">Hand held camera footage of interview and paint on glass.</span><br />
<br />
functional, unobtrusive, unfettered editing<br />
<br />
<span style="color: lime;">Smooth transitions between scenes, contrasted with stark harsh rigidity of soldier/interrogator scenes</span><br />
<span style="color: lime;"><br />
</span><br />
sense that the film provides a window in to<br />
some aspect of social or historical reality<br />
<br />
<span style="color: lime;">Contemporary issue, the world is not safe for the foreign traveller, experiences reflect that. see:</span><br />
<a href="http://channel.nationalgeographic.com/channel/locked-up-abroad">http://channel.nationalgeographic.com/channel/locked-up-abroad</a><br />
<br />
use of archival footage of varying qualities<br />
<br />
<span style="color: lime;">Yes, home interview, maps and T.V</span><br />
<span style="color: lime;"><br />
</span><br />
<br />
</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-55688140314352606582012-04-30T16:03:00.002-07:002012-04-30T16:11:48.316-07:00Sound scape and Narration<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br />
</span><br />
<span style="font-family: inherit;"><br />
</span><br />
<span style="font-family: inherit;">I have started to look more deeply at Chris Watson's work, <a href="http://www.chriswatson.net/">http://www.chriswatson.net/</a>, he records unusual and reactive sounds from different environments.</span><br />
<span style="font-family: inherit;"><br />
</span><br />
<span style="font-family: inherit;">These audience responses to Watson’s work suggest that there are significant parallels between the visual music work of Len Lye and environmental sound art. Much like the visual imagery of mark making, environmental sounds that are familiar or even unfamiliar (but affectively tangible) can tap into our individual or shared memory repositories. With the potential to function as synaesthetic memory triggers, these sounds and images can also be spatially and temporally locating. While their referential qualities refer us to what is outside of the work, they ultimately refer us to our own bodies.(Lisa Perrott, Visual Music meets Sound Art: Exploring the Relation Between the Haptic Body, Referential Memory Triggers and the Locating Sounds of Aotearoa.)</span><br />
<span style="font-family: inherit;"><br />
</span><br />
<span style="font-family: inherit;">I want my sounds to be unnaturally human, as only unnatural a human can be. Sounds of scratching, screaming, foreign mutterings, chains, pummelling bodies and blood splating, vommitting, heavy vehicles, the sounds of soft bodies being shaken around in hard environments. Punishing and discomforting to the ear, without rhythm, harmony or melody, unexpected, the audience blind and startled to what sound comes next.</span><br />
<span style="font-family: inherit;"><br />
</span><br />
<span style="font-family: inherit;"><a href="http://www.harvestfilms.ie/silence">http://www.harvestfilms.ie/silence</a> </span><br />
<div align="JUSTIFY" class="western" style="border-bottom: 1px solid #000000; border-left: none; border-right: none; border-top: none; line-height: 150%; margin-bottom: 0in; padding-bottom: 0.01in; padding-left: 0in; padding-right: 0in; padding-top: 0in;"><span style="font-family: inherit;"><i><b> </b></i> </span><br />
<span style="font-family: inherit;"><i><b><br />
</b></i></span><br />
<br />
<div class="western" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: inherit;">When presented as auditory close-up, and without the accompaniment of visual imagery (or the mediation of symbolic representation), Watson’s sound compositions bring the audience into a close and direct sensory engagement with the material and timbral qualities of the sounds. My experience was an almost levitated sensation of my body being completely enveloped by the soundscape. The sounds appeared to be moving past and through my body, which was situated within the spatial parameters set by the movement, closeness or distance of the sounds. </span><span style="line-height: normal; text-align: left;">(Lisa Perrott, Visual Music meets Sound Art: Exploring the Relation Between the Haptic Body, Referential Memory Triggers and the Locating Sounds of Aotearoa.)</span></div></div></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-37378110262060988532012-04-30T15:32:00.001-07:002012-04-30T15:33:13.451-07:00Line, Space and the Subjective Reality<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee;">T<span style="font-size: small;">he
line is an entity with no inherent indexical link to, or counterpart
in, the ‘real’, natural,</span></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">world,
but it can be used to represent the ‘real’, natural, world. The
linear implies a glimpse of</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">human
agency, of a subjectivity that can only be shown through drawing or
with drawn animation,</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;">not
through the lens of a camera. (Birgitta Hosea, <b>Drawing Animation,
</b><b>2010) http://anm.sagepub.com/content/5/3/353</b></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">The
hand of the animator is the most reflexive expression of their
imagination and/or perception. Animation can display what would be
otherwise subversive in the minds eye of the filmmaker. A step beyond
the participatory documentary, Michael Moore used animation in his
documentary 'Bowling for Columbine' to express history briefly and
ironically, we have an insight in to the documentary makers mind,
rather than what we see reflected in their actions.</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">Space
can be manipulated to give the impression of events moving rapidly,
slowly, or to express a characters feelings or struggles, or the
space can be central to the meanings of the production itself. Never
has wallpaper being so fun to stare at when it is alive.</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><span style="font-family: 'Courier New', monospace;">Central
to giving space experiential meaning is animation’sability to
transfer such character encounters to viewers, allowing them to also
find themselves caught between their expectations and the images that
resolve on the screen. (</span><span style="font-family: 'Courier New', monospace;">Aylish
Wood, </span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>Re-Animating
Space, 2006)</b></span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>
<a href="http://anm.sagepub.com/content/1/2/133">http://anm.sagepub.com/content/1/2/133</a>
</b></span></span>
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">In
our memories space changes can be manipulated and even the feelings
we had about that experience can affect the way we recollect
environments. In fact, it is proven that doctoring photographs can
stimulate false memories in children and even sometimes adult
recollections.</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">(Maryanne
Garry and Mathew P. Gerrie, When Photographs Create False</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;">Memories,
<b>Victoria University of Wellington, Wellington, New Zealand)</b></span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b><a href="http://www.mccc.edu/~jenningh/Courses/documents/PSY101_journalpacket_2008_000.pdf">http://www.mccc.edu/~jenningh/Courses/documents/PSY101_journalpacket_2008_000.pdf</a>
</b></span></span>
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>Caroline
Leaf's work to me conveys that uneasy line between imagined and
remembered as memories haze into events and imaginative
recollections, truly documenting the subjective perception of the
animator.</b></span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>Reverberating
space, then, can be approached through the ideas of</b></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">fluid
and unused space. For example Caroline Leaf, whose work I discuss
more fully later, animates in a variety of ways: sand on glass, oil
paint on glass, scratching on film stock. While each of these is a</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">very
different technique, they all share the property of fluid spatial</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><span style="font-family: 'Courier New', monospace;">construction.
(</span><span style="font-family: 'Courier New', monospace;">Aylish
Wood, </span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>Re-Animating
Space, 2006)</b></span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>
<a href="http://anm.sagepub.com/content/1/2/133">http://anm.sagepub.com/content/1/2/133</a>
</b></span></span>
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>In
<i>The Street, </i>Caroline Leaf
uses ink on glass, he technique creates temporal metamorphic spaces,
trans-versing time and space to descripe perceptions of
recollections.</b></span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><i><b>The
Street</b></i><b>, perhaps Leaf’s most celebrated animation,</b></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">features
images created using under-lit ink on glass, with individual</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">frames
generated by small changes to the previous one. This</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">technique,
combined with the narrative, produces two senses of</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">space.
The first is one of enclosure, while the second is one of
transformation.</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">The
contrast between these creates the particular spatial</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">dynamics
of the animation, where being held in abeyance while</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">waiting
for a death in the family has to give way in the end to that</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><span style="font-family: Garamond-Book, sans-serif;"><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;">inevitable
change. (</span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;">Aylish
Wood, </span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>Re-Animating
Space, 2006)</b></span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>
<a href="http://anm.sagepub.com/content/1/2/133">http://anm.sagepub.com/content/1/2/133</a>
</b></span></span></span>
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>The
idea of space transformed by different habitations is useful in</b></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">thinking
about the content of Leaf’s animation, but it does not fully</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">address
another spatial construction within her work: a tendency for</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">the
insubstantial quality of the resolves to disassemble the relationship</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">between
time, space and action. This allows transformation to enter</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">more
forcefully into the organization of the images as the dissolution</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">of
an image results not so much in a hesitation but in a complete jump</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">in
time and space, where characters resolve from one to another, or</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">objects
turn into other objects.</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><span style="font-family: Garamond-Book, sans-serif;"><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;">(</span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;">Aylish
Wood, </span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>Re-Animating
Space, 2006)</b></span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>
<a href="http://anm.sagepub.com/content/1/2/133">http://anm.sagepub.com/content/1/2/133</a>
</b></span></span></span>
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>Her
images are two dimensional, but the space she uses undergoes
metamorphosis, creating the illusion of moving through the spaces, in
and out and around, as well as her characters engaging with the
spaces in this way.</b></span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>Cel-animations
generally, or the ink-on-glass technique</b></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">demonstrated
in <i>The Street</i>, are two-dimensional images projected on a</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">two-dimensional
surface, but depth is introduced through perspective</span></div>
<div align="LEFT" class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">drawing.
And because of this, a viewer of animation is able to attribute</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee; font-family: 'Courier New', monospace;">a
sense of depth to two-dimensional animation</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><span style="font-family: Garamond-Book, sans-serif;"><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;">(</span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;">Aylish
Wood, </span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>Re-Animating
Space, 2006) </b></span></span><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b><a href="http://anm.sagepub.com/content/1/2/133">http://anm.sagepub.com/content/1/2/133</a>
</b></span></span></span>
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>The
very process of animation is therapeutic in the sense that the
animator feels they have some sense of control over events that they
would of liked more control over. Animation can reconstruct events
more suitably in the realm of thoughts and feelings of a memory,
dreams and experiences clouded by emotion.</b></span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>The
very artifice of animation requires that the characters, situations,
narratives and designs ‘announce themselves’ as different kinds
of ‘phenomena’. This challenges the viewer to … invest in
engaging with animated phenomena as constructs which may relate
directly to the terms and conditions of human experience, but equally
may offer more complex meditations on socio-cultural and aesthetic
epistemologies. <i>(</i>Steve Fore,
<i>Animation</i> Reenacting
Ryan: The Fantasmatic and the Animated Documentary, 2011)
http://anm.sagepub.com/content/6/3/277 </b></span></span>
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><span style="font-family: 'Courier New', monospace;"><span style="font-size: small;"><b>As
Craig Hight (2008: 14) has noted, while the visual images in
interview-based works tend to preserve animation’s usual
reflexivity, the soundtrack maintains (in a term borrowed from
Michael Renov) ‘acoustic indexicality in the form of interview
sound-bites and especially expositional voice-over narration’, and
as Paul Ward (2006: 122) writes, these animations ‘construct a
“world” that will metaphorically emphasise (or dramatically
undermine) what the viewer is hearing on the soundtrack.’ <i>(</i>Steve
Fore, <i>Animation</i>
Reenacting Ryan: The Fantasmatic and the Animated Documentary, 2011)
http://anm.sagepub.com/content/6/3/277 </b></span></span>
</span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>Animation
can both challenge and support the visual and verbal narrative, it is
truly reflexive and clearly doesn't deny that.</b></span></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="color: #eeeeee;"><br /></span></div>
<div class="western" style="margin-bottom: 0in;">
<span style="font-family: 'Courier New', monospace;"><span style="color: #eeeeee; font-size: small;"><b>It
is in this way that the conventional reflexivity of animation
harmonizes especially well with the use of reenactments in
documentary film and video. Unlike animation, in documentary the
trope of reflexivity is not a pre-requisite component of the form,
but emerges either as a self-consciously deployed tactic on the
part of the producer, or more prosaically as a section in the film
that the viewer understands has been assembled with images of a
different ontological status from those used in other sections of the
work. <i>(</i>Steve Fore,
<i>Animation</i> Reenacting
Ryan: The Fantasmatic and the Animated Documentary, 2011)
http://anm.sagepub.com/content/6/3/277</b></span></span></div>
</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-7526691792324491802012-04-29T16:40:00.000-07:002012-04-29T20:56:40.370-07:00Paint on Glass: Exploring Super Real and Surreal<div dir="ltr" style="text-align: left;" trbidi="on">
<br /><br />Many of the paint on glass animations remind me of impressionists paintings. However they often explore different levels of consciousness. Bringing vision to one of my favourite books The Old Man and the Sea, Alexander Petrov's animation explores the internal dreams and visions of the animations central character. However I felt that the animation could of explored the embittered struggle of the central character, I just hoped it was longer.<br /><br /><span style="font-family: inherit;"><span style="background-color: #ebebeb; color: #333333; line-height: 18px;"><a href="http://www.youtube.com/watch?v=l2_KszEnlq0&feature=relmfu">The Old Man and the Sea, Alexander Petrov</a></span></span></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-12320479524874847452012-04-29T16:05:00.001-07:002012-04-29T16:05:13.562-07:00Explorations into paint on glass<div dir="ltr" style="text-align: left;" trbidi="on">
<h1 class="firstHeading" id="firstHeading" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: none; background-origin: initial; border-bottom-color: rgb(170, 170, 170); border-bottom-style: solid; border-bottom-width: 1px; font-family: sans-serif; font-weight: normal; line-height: 1.2em; margin-bottom: 0.1em; margin-left: 0px; margin-right: 0px; margin-top: 0px; overflow-x: hidden; overflow-y: hidden; padding-bottom: 0px; padding-top: 0px; text-align: -webkit-auto; width: auto;">
<span dir="auto"><span style="font-size: small;">Yuriy Norshteyn advanced the field of paint on glass, using multiple planes to create a greater sense of dimension in space. His work is incredibly intricate and beautiful and he has invested a lot of time in his works and has years of experience, nonetheless I find his work inspiring.</span></span></h1>
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<span dir="auto"><a href="http://www.youtube.com/watch?v=dRsXU4Q6a0Q">http://www.youtube.com/watch?v=dRsXU4Q6a0Q</a></span></div>
</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-37422136920301468102012-04-29T15:33:00.001-07:002012-04-29T15:40:47.483-07:00Empathy and Apathy<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /><br />kinesthesis plays an important role in my animated documentary. Visualizing the antagonism, suffering and fear in the subjects voice is important and then further gaining a sense of fluidity and rushing from environment to environment. This is why initially I would like to use paint on glass for the first several scenes that represent the subjects perception of events. The environments where the paper doll characters of the authorities are rigid and bland, there movements synchronous, ordered, uniform. You get a feel that they just shuffle paper and people around, but are also like the walls that surround them.<br /><br /><br /><br /><br />I thought this might be fun to splice in to my piece after the subject says that he realizes he is in the custody of the Pakistani army.<br /><br /><br /><br /><br /><a href="http://www.youtube.com/watch?v=nY2sI-LV3QI">Pakistan Military Song</a><br /><br /><br /></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-87275626009918701912012-04-29T04:50:00.001-07:002012-04-29T04:50:06.443-07:00Greater than Less than<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjxrJrcpLhQPTSgcoWxz3AjQvM7pDS7S6twqw_crZRyHy7uLilynRZrvwf2RbNO0E0q5aCCR_cVDjcMc1fnGDCQLHe4Rg-DJtJz3mi5vq7Exk2ulo9zAsmnVYH4rWJUH9Ow_iz4tSVHsg/s1600/mathsymbolsgreaterthanbnw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjxrJrcpLhQPTSgcoWxz3AjQvM7pDS7S6twqw_crZRyHy7uLilynRZrvwf2RbNO0E0q5aCCR_cVDjcMc1fnGDCQLHe4Rg-DJtJz3mi5vq7Exk2ulo9zAsmnVYH4rWJUH9Ow_iz4tSVHsg/s320/mathsymbolsgreaterthanbnw.jpg" width="320" /></a></div>
This symbol really interests me, especially in terms of symbolic space, the subject always being on the greater side, his oppressors on the less than.</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-88515934951804917312012-04-29T04:34:00.001-07:002012-04-29T15:57:31.884-07:00Paint on glass<div dir="ltr" style="text-align: left;" trbidi="on">
I seem to be getting more and more drawn to paint on glass, I love the metamorphic qualities and how they can bring the hazy visions of memory into reality, but I also believe that paint on glass can delve into our darkest fears and explore that feeling of descent into blackness that is the onset of self-pit and depression.<br />
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<a href="http://www.youtube.com/watch?v=6jk0N6gHUXw&feature=related">Example Paint on glass</a><br />
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<a href="http://www.youtube.com/watch?v=GAfdG2d1c9Y">Добро пожаловать Dobro Pozhalovat!</a></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-81632644919567430532012-04-28T21:53:00.002-07:002012-04-28T21:53:38.985-07:00More Great Things Coming out of the Czech Republic<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://amanita-design.net/">Amanita Design</a></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-41583318057992977332012-04-28T21:42:00.000-07:002012-04-28T21:42:03.023-07:00Bus Model<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgPz_J1-ofePahnzT2m_E-jMDNyHl4BaoN5bYsHzTJ34gVcagwEa4IiqJE5PuYdb3CuBYw04tDPz80cjhBHhzhZ4y9RSjCjgg0itbCDYdGk7cE4AzcmPmsMmuGBDYydDjHXG9MUW8ZUA/s1600/5135547697_d0d7feca9b_z.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgPz_J1-ofePahnzT2m_E-jMDNyHl4BaoN5bYsHzTJ34gVcagwEa4IiqJE5PuYdb3CuBYw04tDPz80cjhBHhzhZ4y9RSjCjgg0itbCDYdGk7cE4AzcmPmsMmuGBDYydDjHXG9MUW8ZUA/s320/5135547697_d0d7feca9b_z.gif" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpOX3GtjlIcUMrX0xgB_gsZuTaPCjYo0PyztGdQ9zl0xByfBKa5Bb6JhiNwWgYpneZNWA7M3rYnagl-6JBPyapJ6nAK_5wz07IK3L5Gts1s9w1nsqRhQUcJxHPyFMlhLJAbzDTHxbpwjQ/s1600/DSCF0471.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpOX3GtjlIcUMrX0xgB_gsZuTaPCjYo0PyztGdQ9zl0xByfBKa5Bb6JhiNwWgYpneZNWA7M3rYnagl-6JBPyapJ6nAK_5wz07IK3L5Gts1s9w1nsqRhQUcJxHPyFMlhLJAbzDTHxbpwjQ/s320/DSCF0471.JPG" width="179" /></a></div>
<br /></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-87530548264326683292012-04-28T20:10:00.000-07:002012-04-28T20:10:21.768-07:00Prisoner Uniform Model<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4-WSWIFImAwQYg6HKOMy-i0Zzq7Zw5trXSupunCngEYqkSO8pC9bG2eUWppTXJ1aqpMqU1VWAOdgL4rejt35kmp6zzfhzTkrpTQfUro8uUaoWeiKILwhVk8BXWVZ-nqWb6cm-04AoWfI/s1600/DSCF0475.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4-WSWIFImAwQYg6HKOMy-i0Zzq7Zw5trXSupunCngEYqkSO8pC9bG2eUWppTXJ1aqpMqU1VWAOdgL4rejt35kmp6zzfhzTkrpTQfUro8uUaoWeiKILwhVk8BXWVZ-nqWb6cm-04AoWfI/s320/DSCF0475.JPG" width="179" /></a></div>
<br /></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-26958507817817074042012-04-28T17:36:00.001-07:002012-04-29T15:42:04.649-07:00Roots of Influence<div dir="ltr" style="text-align: left;" trbidi="on">
<br /><br />The greatest influence in my stylistic direction is the work of Jan Švankmajer. His work reflects centuries of skilled Czech animation and puppetry. His works are surreal, innovative, experimental with forms and materials. He has not being afraid in his life to delve into many different materials, and animation techniques to present ideas. <br /><br /> Jan Svankmajer - Dimensions Of Dialogue<br /><br /><a href="http://www.youtube.com/watch?v=YaMIR7uRTLo&feature=related">http://www.youtube.com/watch?v=YaMIR7uRTLo&feature=related</a><br /><br /> <br /> Jan Svankmajer - The Death of Stalinism in Bohemia<br /><br /><br /><a href="http://www.youtube.com/watch?v=Tx8-MQACkpE&feature=relmfu">http://www.youtube.com/watch?v=Tx8-MQACkpE&feature=relmfu</a> <br /><br /><br />He has influenced other contemporary animators who have inspired innovators The Quay Brothers. The Quay Brothers have influenced me most in exploration of space.<br /><br /><br />"We Realized that with puppets and objects an entire universe and above all, an exploration of space could be created at the level of the tabletop. This provided us with an intimate theater, a tight collaboration between the two of us, a learning of all metiers and exploration of all their potentials."<br /><br /><br />Quay Brothers' correspondence with Chris Robinson<br /><br /><br /><br /> Quay Brothers - 1984 - The cabinet of Jan Svankmajer<br /><br /><br /><br /><a href="http://www.youtube.com/watch?v=R2wUjO6YvnM">http://www.youtube.com/watch?v=R2wUjO6YvnM</a><br /></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-35339368448691074462012-04-27T21:50:00.001-07:002012-04-27T21:50:10.591-07:00Sep 11 - Marked Man - Stories - Story Archive - 60 Minutes - Shows - TV3<a href="http://www.tv3.co.nz/Sep-11---Marked-Man/tabid/2059/articleID/73581/Default.aspx#.T5t2_MrUFiw.blogger">Sep 11 - Marked Man - Stories - Story Archive - 60 Minutes - Shows - TV3</a>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-41101750260199001462012-04-27T15:43:00.002-07:002012-04-27T15:43:52.651-07:0060 minutes article<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.3news.co.nz/Muslim-named-as-NZs-only-link-to-Al-Qaida/tabid/371/articleID/225340/Default.aspx">http://www.3news.co.nz/Muslim-named-as-NZs-only-link-to-Al-Qaida/tabid/371/articleID/225340/Default.aspx</a>
</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-78086229256139922112012-04-22T14:32:00.002-07:002012-04-22T14:32:21.596-07:00Prisoners<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz5dDMjgIFIGdkdcscGnxCgJKhn4Ovzy1PazSjnpk74d3h45cHuCDJiSTmOzkNOq3mTpmkBeAcsjbVFHfZmu73nhNqW0vhBV0L_yDE0HGGa0vJlag_pnzxsiNblKmPce1nTjF7uRPV4z4/s1600/993631.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz5dDMjgIFIGdkdcscGnxCgJKhn4Ovzy1PazSjnpk74d3h45cHuCDJiSTmOzkNOq3mTpmkBeAcsjbVFHfZmu73nhNqW0vhBV0L_yDE0HGGa0vJlag_pnzxsiNblKmPce1nTjF7uRPV4z4/s320/993631.jpg" width="320" /></a></div><span style="font-size: x-large;">3D</span></div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-74629722896684793462012-04-22T14:20:00.003-07:002012-04-22T14:31:31.353-07:00Concept for Guards, Soldiers and Interrogators<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">2D</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsVoGvX0w5k9MQ854hJYurVBZ76ek1XREfGT3SKZtXdwqPy1mf8oGrf6isusULVxvcYKzdxIQsfyMY7KtYqJifoQoyFCfWYOdcbBaJObMbYaBLfhAca74M7EAv37hYkRCwmVOMrhaHWc/s1600/paper-doll-chain-hi.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsVoGvX0w5k9MQ854hJYurVBZ76ek1XREfGT3SKZtXdwqPy1mf8oGrf6isusULVxvcYKzdxIQsfyMY7KtYqJifoQoyFCfWYOdcbBaJObMbYaBLfhAca74M7EAv37hYkRCwmVOMrhaHWc/s320/paper-doll-chain-hi.png" width="320" /></a></div><br />
</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0tag:blogger.com,1999:blog-563244876655096866.post-52976704438699715922012-04-20T17:12:00.000-07:002012-04-20T17:12:18.226-07:00Karachi Map<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKIbrVOGH-tJ_vfDfvr4g_wR9H3QHiP673PgVGM2myshqieH9gAQ6AXGeKQI1GR8MRM-a-7rRJYtXwO8zlUWyDdjiRs2qBRDikHZC9WxS2TypmB3VqdE_8BOe0l4TnnNNzyuR5EEiKafQ/s1600/karachi_map_final.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKIbrVOGH-tJ_vfDfvr4g_wR9H3QHiP673PgVGM2myshqieH9gAQ6AXGeKQI1GR8MRM-a-7rRJYtXwO8zlUWyDdjiRs2qBRDikHZC9WxS2TypmB3VqdE_8BOe0l4TnnNNzyuR5EEiKafQ/s320/karachi_map_final.jpg" width="320" /></a></div><br />
</div>I Blair forgive Bruce Morpethhttp://www.blogger.com/profile/13731552960391263174noreply@blogger.com0