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El animador como artista, el artista como animador. Una recapitulación.
Get PDF[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
Prikazen na platnu
Get PDFIn accord with the author’s larger project to bring to the fore the crucial nature of animation for the thinking of not only all forms but all aspects of film, this paper seeks to elaborate a theory of spectatorship “proper to” animation, which is to say, to cinema, to film, to film “as such,” as a form of animation – film animation. Drawing upon what the author calls the Cryptic Complex of film animation – informed by his treatment of Maxim Gorky’s characterization of cinema as “Kingdom of Shadows” and composed for him of the uncanny, the return of death as spectre, endless mourning and melancholia and cryptic incorporation – the essay extends his notion of spectatorship as spectreship, as at once haunting and being haunted, at once cryptically incorporating and being cryptically incorporated. To wit, to this animatic, Derridean-indebted theory of film animation as of the order of the spectre, the hauntological, and the author’s call for not merely a psycho- but a psuché-analysis of film animation – an analysis of the spectres (Homeric) at play in and of film animation – the essay brings the work of Jacques Lacan. It not only incorporates the animatic work of Lacan in film animation, and vice versa, it discovers that work as already so in play there – there in that haunted house, that crypt, where Derrida and Lacan animatically haunt, encrypt, each other, even as another such spectre, Jean Baudrillard, shadows them, animatically so.V skladu z avtorjevim širšim projektom prikazati ključno vlogo animacije za mišljenje ne le vseh oblik, pač pa tudi vseh vidikov filma, skuša prispevek razdelati teorijo gledalstva »lastno« animaciji, se pravi, kinu, filmu, filmu »kot takemu«, kot obliki animacije – filmske animacije. Prispevek se opira na to, kar avtor imenuje »skrivna zgradba filmske animacije«, izhajajoč pri tem iz avtorjeve obravnave Gorkijeve označitve kina kot »kraljestva senc«, ki ga tvorijo nedomačnost, vrnitev smrti kot prikazni, neskončno žalovanje, melanholija in skrivna inkorporacija. Prispevek razširja njegov pojem gledalstva [spectatorship] v prikaznost [spectreship]. To prikaznost razume kot nekaj kar hkrati preganja in je preganjano, skrivnostna inkorporacija in skrivnostno inkorporirano. Prispevek tako povezuje delo Jacquesa Lacana s to animatično derridajevsko teorijo filmske animacije kot vrste prikazni, prikaznološkosti [hauntologcal], in avtorjev poziv ne le k psihoanalizi, pač pa tudi k analizi psihe filmske animacije – analizi (homerične) prikazni, ki nastopa v filmski animaciji in kot filmska animacija. Tako prispevek ne povezuje le Lacanovega animatičnega dela s področjem filmske animacije, in narobe, temveč kaže, da je to delo vselej že prisotno, tu v tisti hiši prikazni, tisti grobnici, kjer Derrida in Lacan drug drugega animatično, šifrirano preganjata, četudi jima druga takšna prikazen, Jean Baudrillard, animatično sledi kot senca
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
“O Computador Disse Não” ou O Apagamento do Humano
Get PDFA 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”
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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The Animation of Cinema
No full textThis essay (originally published in THE SEMIOTIC REVIEW OF BOOKS VOLUME 18.2 2008, republished here with permission) seeks to resurrect the name, work and extraordinary achievements of the most significant pioneering film animator at best marginalized, at worst effaced, by English language Film Studies and Animation Studies. Even the outstanding animation scholar Donald Crafton, in his canonical text Before Mickey: The Animated Film 1898-1928, treats Emile Reynaud as not an animator, situating the advent of animation in 1898, six years after Reynaud began to present his Théâtre Optique at the Musée Grévin in Paris to what would eventually be 500,000 spectators, including arguably the Lumière Bros, as monographs in French on Reynaud propose. The essay continues the author’s work on the theorising of animation begun with his Introduction to and essay “Who Framed Roger Rabbit, or The Framing of Animation” in The Illusion of Life: Essays on Animation, the world’s first anthology of scholarly essays theorising animation and from “poststructuralist” and “postmodernist” perspectives, published by Power Publications and the Australian Film Commission in 1991 and edited by him. His essay won the 2010 McLaren-Lambart Award for Best Essay from the Society for Animation Studies
The Crypt, the Haunted House, of Cinema
Get PDFAs we know, it is a cliché that what we see on the screen is ghosts, phantoms, spectres. What I propose in this essay is that that cliché be taken seriously—do I dare say it, ‘deadly’ seriously—be given rigorous analytic attention for its relevance to the thinking of cinema and its senses, while at the same time acknowledging that even the finest account must come face to face with the ‘fact’ that there is no ghostbuster, not even the analyst/theorist of cinema, not even the Marxist analyst/theorist of cinema, so powerful as to master, defeat and eradicate the spectre of cinema. It is a key premise of this essay that not only is the spectre a privileged subject of film but that it would be the ur figure of cinema, if cinema could have an ur figure, if the spectre could be an ur figure, a figure not only operating at every second at every level in every aspect of every film but also at the level of the cinematic, or rather animatic, apparatus of film, hence at the level of film ‘as such’
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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