transjuice
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Animatography - the Language of the Post-Photographic Moving Image
Motion capture has its roots in the Ford factory assembly lines, in the form of time-study management. These days, In a post-industrial climate, where industry is ‘out-sourced’ to other economically expanding countries of the East, it is used for ‘entertainment’ purposes, as though we now regard its cultural significance as part of its obsolescence in the alter modern climes of European culture.
Making a Scene - Southampton City Art Gallery - 6 October 2011 - 2 January 2012
How is it possible to 'rupture'[1] the technical image? So that it both points at the world and at the same time makes a play with that pointing activity, as in Gillian Wearing's Dancing in Peckham, 1994, where the artist dances in a shopping mall, dialogue-ing with the camera which captures the amused look of passers-by.
Gillian Wearing, Dancing in Peckham,1994, Courtesy Maureen Paley
Avatar - an Exploration of Psychic Space
“ The essential elementary self is gone, evaporated into a vigorous plurality of interactions. I discharge myself, time and again, in a discontinuous flow, a passage of impossible states leaping into successive configurations.” Helen Chadwick, Enfleshings
The sensuality of phenomenology, the world perceived more consciously, and philosophically, through the senses, reminds me of studying Computer Animation
Our joint paper (Stephen Bell and Sarah Thompson) " Loss and the Effect of Commputer Drawing on Time, Revelation, Iconicity, Authenticity and Morphology in Art Practice" has been published by TRACEY, Loughborough University. To read the paper click here:
http://www.lboro.ac.uk/departments/ac/tracey/dat/bell-thompson.html
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