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El animador como artista, el artista como animador. Una recapitulación.
Full text link[EN] Alan Cholodenko (New Jersey, 1940) is not only one of the most important theorists in animation, but he has made animation a way of understanding life. There is no art without ‘anima’, without the desire to breathe life; nor is there animation that is not, basically, ‘lifedeath’, a (re)animated life. With a post-structuralist thought, following his mentors Jean Baudrillard and Jacques Derrida, Alan Cholodenko has built a solid philosophy of animation around the idea of 'animatic apparatus', an essential term to understand the revolution that involves the imaging technologies that support current science, culture and society. ‘The animator as an artist, the artist as an animator", an essay as personal as it is penetrating, exposes the fundamental axis of his thinking about drawing as a seductive and deconstructive gesture.[ES] Alan Cholodenko (Nueva Jersey, 1940) no solo es uno de los teóricos más importantes de la animación, sino que ha hecho de la animación una forma de entender la vida. No hay arte sin ánima, sin deseo de insuflar vida; ni hay animación que no sea, en el fondo, ‘lifedeath’, vida/muerte, (re)animación. Con un pensamiento de corte postestructuralista, seguidor de sus mentores Jean Baudrillard y Jacques Derrida, Alan Cholodenko ha construido una sólida filosofía de la animación cuyo centro es el ‘aparato animático’ (‘the animatic apparatus’), un término esencial para comprender la revolución que implica las tecnologías de la imagen que vertebran la ciencia, la cultura y la sociedad actuales. En “El animador como artista, el artista como animador”, un artículo tan personal como penetrante, se expone el eje fundamental de su pensamiento en torno al dibujo como gesto seductor y deconstructivo.Cholodenko, A. (2020). The animator as artist, the artist as animator. Con A de animación. (10). https://doi.org/10.4995/caa.2020.13271OJS10BAROLSKY, Paul, 2010. A Brief History of the Artist from God to Picasso, Pennsylvania: The Pennsylvania State University Press, University Park.BAUDRILLARD, Jean, 1997. "Objects, Images, and the Possibilities of Aesthetic Illusion", en ZURBRUGG, Nicholas (ed.), Jean Baudrillard, Art and Artefact, Londres: Sage Publications, in association with the Institute of Modern Art, Brisbane.CHOLODENKO, Alan, 1991a. Introduction, The Illusion of Life: Essays on Animation, (ed.) Alan Cholodenko, Power Publications in association with the Australian Film Commission, Sydney.CHOLODENKO, Alan, 1991b. "Who Framed Roger Rabbit, or The Framing of Animation", en The Illusion of Life: Essays on Animation, en CHOLODENKO, Alan (ed., Sídney: Power Publications in association with the Australian Film Commission.CHOLODENKO, Alan, 1997. '"OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR": The Virtual Reality of Jurassic Park and Jean Baudrillard', en ZURBRUGG, Nicholas (ed.), Jean Baudrillard, Art and Artefact, Londres: Sage Publications, in association with the Institute of Modern Art, Brisbane (reimpreso en International Journal of Baudrillard Studies, vol. 2, no. 1, January 2005).CHOLODENKO, Alan, 2000. "The Illusion of the Beginning: A Theory of Drawing and Animation", Afterimage, vol. 28, no. 1, July/ August.CHOLODENKO, Alan, 2003. "Apocalyptic Animation: In the Wake of Hiroshima, Nagasaki, Godzilla and Baudrillard", en GRACE, WORTH y SIMMONS (eds.), Baudrillard West of the Dateline, Nueva Zelanda: Dunmore Press.CHOLODENKO, Alan, 2004a. '"The Borders of Our Lives": Frederick Wiseman, Jean Baudrillard and the Question of the Documentary', International Journal of Baudrillard Studies, vol. 1, no. 2, July.CHOLODENKO, Alan, 2004b. "The Crypt, the Haunted House, of Cinema", Cultural Studies Review, vol. 10, no. 2, September. https://doi.org/10.5130/csr.v10i2.3474CHOLODENKO, Alan, 2007a. "Animation-Film and Media Studies' "Blind Spot"', Society for Animation Studies Newsletter, vol. 20, no. 1.CHOLODENKO, Alan, 2007b. "(The) Death (of) the Animator, or: The Felicity of Felix', Part 2: 'A Difficulty in the Path of Animation Studies", Animation Studies, vol. 2.CHOLODENKO, Alan, 2007c. Introduction, The Illusion of Life 2: More Essays on Animation, en CHOLODENKO, Alan (ed.), The Illusion of Life 2: More Essays on Animation, Sídney: Power Publications.CHOLODENKO, Alan, 2007d. "Speculations on the Animatic Automaton", en CHOLODENKO, Alan (ed.), The Illusion of Life 2: More Essays on Animation, Sídney: Power Publications.CHOLODENKO, Alan, 2008. "Why Animation, Alan?", Society for Animation Studies Newsletter, vol. 21, no. 1.CHOLODENKO, Alan, (2011). "(The) Death (of) the Animator, or: The Felicity of Felix', Part 3: 'Death and the Death of Death", en BOWMAN, C (ed.) Selected Writings From the UTS: Sydney International Animation Festi¬val 2010 Symposium, Sídney: Faculty of Design, Architecture & Building, University of Technology Sydney, Australia (reimpreso en Inter¬national Journal of Baudrillard Studies, vol. 11, no. 1, January 2014).CHOLODENKO, Alan, 2014. '"First Principles" of Animation', en BECKMAN, Karen (ed.), Animating Film Theory, Durham: Duke University Press.CRAFTON, Donald, 1979. "Animation Iconography: The "Hand of the Artist"', QRFS, Fall. https://doi.org/10.1080/10509207909361014DERRIDA, Jacques, 1978. 'The Retrait of Metaphor', Enclitic, vol. 2, no. 2 (Fall).DERRIDA, Jacques, 1987. "Cartouches", en The Truth in Painting, Chicago: The University of Chicago Press.EISENSTEIN, Sergei, 1988. Eisenstein on Disney, Londres: Methuen.FOCILLON, Henri, 2010. The Life of Forms in Art, México D.F: UNAM.LACOUE-LABARTHE, Philippe, 1989. 'Typography', en C FYNSK, Christopher (ed.), Typography, Cambridge, Massachusetts: Harvard University Press.LESLIE, Esther 2002. "Zero, Dots and Dashes: Drawing and the European Avant-Garde", en Hollywood Flatlands: Animation, Critical Theory and the Avant-Garde, Londres: Verso.MENDELOWITZ, Daniel Marcus, 1967. Drawing, Nueva York: Holt, Rinehart and Winston, Inc.PAPAPETROS, Spyros, 2012. On the Animation of the Inorganic: Art, Architecture, and the Extension of Life, Chicago: University of Chicago Press. https://doi.org/10.7208/chicago/9780226645674.001.0001SHINER, Larry, 2001. The Invention of Art: A Cultural History, Chicago: The University of Chicago Press. https://doi.org/10.7208/chicago/9780226753416.001.0001WELLS, Paul, 2009. The Animated Bestiary: Animals, Cartoons, and Culture, New Brun¬swick: Rutgers University Press.WORRINGER, Wilhelm, 1927, 1957. Form in Gothic, Londres:Alec Tiranti
A imobilidade movente da fotografia: em resposta a Alan Cholodenko
Full text linkEste texto contrapõe algumas considerações apresentadas por Alan Cholodenko, no ensaio Fotografia imóvel? Partindo do conceito de animação, discutido pelo autor, questiona-se até que ponto são viáveis as afirmações de que a fotografia apresenta uma anima própria, que faz com que seja animada. Percorrendo o caminho inverso ao de Cholodenko, que parte das discussões sobre cinema para discutir a fotografia, recorreu-se aos referenciais consolidados na teoria da fotografia para entender as características ontológicas e estéticas das imagens produzidas pela câmera escura. Esse percurso foi fundamental para compreender a fixidez como a principal característica da fotografia, contraponto o argumento de que as figurações fotográficas são animadas. Ao contrário do que defende Cholodenko, não é uma animação intrínseca a potência da fotografia, mas justamente a estética da fixidez, que faz com o que os corpos se animem diante do quadro estático. Essa mudança conceitual ajuda a compreender a infraestrutura da fotografia como produção humana, não reiterando o animismo da técnica, que personifica a imagem fotográfica como instância autônoma. A animação está no corpo que vê a fotografia e, diante do susto mórbido que ela provoca, pode fabular múltiplas possibilidades diante da fixidez da imagem fotográfica
“O Computador Disse Não” ou O Apagamento do Humano
Full text linkA partir do esquete “O Computador Disse Não” da comédia inglesa Pequena Bretanha (2000-2007), do ensaio descontrucionista “Accounterability”, de Peggy Kamuf, do regime disciplinar de Michel Foucault e da invocação de Jean Baudrillard para “esquecer Foucault”, este ensaio elabora o dispositivo do arconte e arquivo “contemporâneo”: o computador, o governador e condutor de tudo, inclusive de todos os indivíduos, discursos, instituições e tecnologias, elaborando o apagamento do computador — seu deletar — não apenas da memória humana (em todos os seus modos, cultural, pessoal, coletivo etc.) em seu arquivo, exceto o próprio humano. Enquanto postula todas as tecnologias como animadoras, portanto reanimadoras, no caso do computador, o último como animador, afirma-o ser ainda mais. Pois o computador é aquela rara tecnologia, não apenas um reanimador global, mas da época, o reanimador hiperanimado da realidade como hiper-realidade, inclusive de memória como hipermemória e tempo como hipertempo, em que o contemporâneo (significando com tempo) é ele mesmo esvaziado. E elucida que Cholodenko chama o “regime da accountability”, no qual o humano é humano na medida em que imita o computador, um mundo cibernético no qual computação, números, regras governam, e a quantidade é a nova qualidade — um mundo de ciborgs, que Cholodenko nomeia realidade “hiperzumbi”, de “morte cerebral” — um mundo no qual, ironicamente, aumenta a quantidade e a indeterminação reina. Enquanto Jaan Tallinn, Stephen Hawking, Elon Musk e outros expressam medo por um futuro de Singularidade de Inteligência Geral Artificial (AGIS), o ensaio delineia um mundo em que essa Singularidade já é uma “realidade”
Débats animés sur l’animationLa querelle Donald Crafton / Alan Cholodenko
No full textLa revue Animation : An Interdisciplinary Journal a proposé, en 2011, une réflexion sur l’animation dans le cinéma des premiers temps, prenant le parti d’adopter une approche consistant à repenser l’histoire du cinéma sous l’angle de la « série culturelle » de l’animation. La première question qui surgit de cette démarche est en l’occurrence la première dont traite ce numéro, question sans fin, constamment posée, mais qui trouve ici une nouvelle résonnance : qu’est-ce, au final, que l’animation ? Est-ce un domaine cinématographique singulier, institutionnalisé dans les années 1950 et s’accaparant rétroactivement tous les films de ses pionniers encore inconscients des implications futures de leurs œuvres ? Ou bien est-ce une technique généralisée de mise en mouvement des images?De fait, l’ouvrage commence par une querelle. Elle oppose, depuis le milieu des années 1990, Donald Crafton, auteur de l’article inaugural du volume, et Alan Cholodenko, théoricien de l’animation auteur, entre autres, de la double anthologie The Illusion of Life, et surtout de l’article « The Animation of Cinema » publié dans The Semiotic Review of Books (vol. 18.2, 2008), réponse directe à l’introduction du classique de Crafton : Before Mickey – The Animated Film, 1898-1928. Cholodenko est défenseur de l’idée consistant à affirmer que tout le cinéma est de l’animation, tandis que Crafton y voit un amalgame sémantique finalement peu convaincant, car largement décontextualisé. Le jeu sur les mots et les concepts, témoin d’une approche de théoricien du cinéma, est donc remis en question par Crafton, préférant à la démarche théorique une démarche de type historiographique. Nous souhaiterions revenir sur cette querelle, non seulement pour comprendre l’impasse à laquelle elle semble inévitablement mener, mais également – ce serait notre objectif – pour chercher à inventer des moyens de l’en dégager. Nous proposerons ainsi de prendre ce débat dans une perspective épistémologique afin de mettre en relief, non plus l’apport de l’un ou l’autre de ces deux chercheurs à la question de l’animation, mais plutôt l’apport de cette double-approche antagoniste à la compréhension de la pluralité théorique constitutive de la notion. Il s’agira ainsi de comprendre que si l’histoire des théories de l’animation se trouve compliquée par la diversité des méthodes choisies pour la conceptualiser et par les débats qui l’animent, cette diversité est également à la source de sa singularité et de son « identité » théorique qu’il conviendrait, le temps de cette réflexion, de mettre à jour dans une perspective nouvelle
Alan Moore Comics as Performance, Fiction as Scalpel
No full textEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Intro -- Contents -- Preface and Acknowledgments -- Introduction -- CHAPTER 1. Formal Considerations on Alan Moore's Writing -- CHAPTER 2. Chronotopes: Outer Space, the Cityscape, and the Space of Comics -- CHAPTER 3. Moore and the Crisis of English Identity -- CHAPTER 4. Finding a Way into Lost Girls -- Conclusion -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
In Alan Turing’s Name: Pardoning the Dead, Forgetting the Living
No full textThis special panel discussion brought together authorities on Alan Turing and the statutory pardon legislation intended to honour him. Leading academics, in conversation with those who have unsuccessfully petitioned to have offences disregarded, were joined by the Turing Bill’s author
Fotografia Imóvel?
Full text linkA questão é: a fotografia é imóvel? E uma questão correlata: “é a fotografia ainda fotografia imóvel? ”. Nesse ensaio, o autor tenta oferecer algumas “respostas” para estas questões, incluindo a mobilização de questões já desenvolvidas pelos teóricos da fotografia e utilizando-se de algumas fotografias, quase todas de autoria de Jean Baudrillard – seu mundo paralelo de imagens instantâneas análogas a seus textos instantâneos, seus fragmentos de imagem e de pensamento. A questão da imobilidade é, para o autor, uma questão de animação, de movimento e de vida. A fotografia, toda fotografia, fotografia “como tal”, é uma forma de animação. O que permitiria ao autor argumentar: não somente a animação é uma forma de filme, mas o fil me, todo filme, é uma forma de animação. Isso inclui a fotografia como uma forma de filme
Bernard Williams
No full textAn edited multi-author volume assessing the moral philosophy of the late British philosopher Bernard Williams. Contributors: Adrian Moore, John Skorupski, Alan Thomas, Robert B Louden, Michael Stocker, A. A. Long, Edward Crai
Post-war British working-class fiction with special reference to the novels of John Braine, Alan Sillitoe, Stan Barstow, David Storey and Barry Hines
Full text linkThis study is about British working-class fiction in the post-war period.
It covers various authors such as Robert Tressell, George Orwell, Walter Greenwood, Lewis Grassic Gibbon and DH Lawrence from the early twentieth century; writers traditionally classified as 'Angry Young Men' like John Osborne, Arnold Wesker, Shelagh Delaney, John Wain and
Kingsley Amis; and working-class novelists like John Braine, Stan Barstow, David Storey, Alan Sillitoe and Barry Hines from the 1950s and 1960s.
Some of the main issues dealt with in the course of this study are language, form, community, self/identity/autobiography, sexuality and relationship with bourgeois art. The major argument centres on two questions: representation of working-class life, and the
relationship between working-class literary tradition and dominant ideologies.
We will be arguing that while working-class fiction succeeded in challenging and rupturing bourgeois literary tradition, on the level of language and linguistic medium of expression for example, it utterly failed to break away from dominant, bourgeois modes of literary production in relation to form, for instance.
Our argument is situated within Marxist approaches to literature, a political and aesthetic position from which we attempt an analysis and an evaluation of this working-class literary tradition. These critical approaches provide us also with the theoretical tool to define the political perspective of this tradition, and to judge whether it was confined to a descriptive mode of representation or
located in a radical, political outlook
Material agency and performative dynamics in the practices of media art
Full text linkThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel UniversityThis dissertation identifies a strategy of artistic inquiry within contemporary media art practice. It applies the concept of material that acts in an agential capacity, generating performative acts. It argues that the emergent potentials of materials and their interconnectedness with the compositional layers of a work can facilitate modes of effecting change in the artistic system. Through the theoretical investigation of the production processes of physical structures and environments, the thesis focuses on the compositional dynamics within which materials actively
perform. It examines how Lars Spuybroek’s architectural design method of Material Machines (2004), and both the tactile potential as well as tactical uses of materials as generators to the formtaking
process, might describe an open and active artistic strategy for employing the experimental capacities of such materialization processes. Building on philosophical and conceptual arguments that trace concepts of agency (Bruno Latour’s Actant-Network theory) and enactment (Karen Barad’s concept of intra-acting), the
thesis introduces the two installation works ANI_MATE (described as a performative pneumatic stage machine) and ON TRACK (described as a mechanic-robotic installation). These apply the introduced artistic strategies. The analyses of these two artworks traces the particular capacities of the materials involved (respectively, their elasticity or viscosity) to negotiate forces of physical
movement, which effect the system to transiently or irreversibly transform.
ANI_MATE is a machine that is artist-operated and that explores the relationship between liveanimation procedures and the transformability and flexibility of its material environment. In contrast, ON TRACK’s performative machine ecology removes human agency. The machines act autonomously, giving rise to chance in the artistic system and allowing agency to emerge from the
dynamic interconnectivity between materials, parts, and processes, eventually producing an
entropic scenario of spilling resources.
The thesis concludes that, in the context of a post digital paradigm in-development, such artistic practice offers a new strategy for an emergent aesthetics within contemporary physical-digital performance
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