Research on Digital Animation Performance of Guanzhong Architectural Stone Carving

Author(s):  
Chen Peng ◽  
Liu Yuxiao
2016 ◽  
Vol 5 (5) ◽  
pp. 60 ◽  
Author(s):  
Miaole Hou ◽  
Shukun Li ◽  
Lili Jiang ◽  
Yuhua Wu ◽  
Yungang Hu ◽  
...  

2020 ◽  
Vol 8 (1) ◽  
pp. 63-83
Author(s):  
Damian Gascoigne

My drawn animation practice has always focused on the gestural mark and messy materiality. This article is about what happened to that practice in the transition from analogue to digital animation, questioning what was lost forever and what might still be worth fighting for. This practitioner’s account of a ‘before digital, after digital’ career describes the experience of making work, as work itself changed forever. Ushered in with little reflection or resistance in the mid-1990s, the new digital doctrine slowly consumed hand-drawn 2D animation production to the point where few but the most determined independent makers keep this vital practice alive. My contention is that a reckoning on why and how we engage with digital technology is long overdue. The article will set out why – after working with digital tools for more than twenty years – I have now abandoned all but the most cursory engagement with new media tools and taken the long walk back to a material analogue practice. The ideas under discussion here can be traced back to one overriding concern – the unsolvable relationship between movement in drawing and drawing for movement. This dichotomy is unique to 2D animation, because freedom of gesture in drawing does not produce continuity of movement in animation. Mining this seam drives my independent animation practice as I try to reconcile the page and the frame.


2019 ◽  
Vol 29 ◽  
pp. 62-66
Author(s):  
Dave Payling

This article discusses the author’s visual music compositional practice in the context of similar work in this field. It specifically examines three pieces created between 2015 and 2017 that fused digital animation techniques with electronic sound. This approach contrasted with the author’s earlier compositions, which featured electroacoustic music and video concrète.


Computer ◽  
2003 ◽  
Vol 36 (4) ◽  
pp. 24-26 ◽  
Author(s):  
L.D. Paulson
Keyword(s):  

Author(s):  
Andrei Grigorev

The article examines the problems in developing approaches for the description and stylistic interpretation of antique masonry, as well as the issues in their stylistic dating. The task of dating construction remains belonging to the 7th century B.C.E. to the turn of the era, has attracted the scholarly attention of the scientific community since the 1940s and has been considered by both foreign and Russian researchers. The article's research object is the construction remains of Greek civil and military architecture in the Mediterranean and the Northern Black Sea regions - territories considered to have been the center and periphery of the Greek Oikumena. The study applied the comparative-typological method, the synchronization of objects in time and space, and dating by analogy. Both in Russian and foreign studies a significant amount of data has been collected for the analysis and construction of appropriate conclusions regarding the distribution and popularity of certain masonry in particular periods of time. However, due to the presence of many factors affecting the ancient construction and stone-carving craft, a number of exceptions due to local natural, economic, raw material, and administrative factors can be distinguished in the observed patterns. Thus, the whole picture of the formation of the construction and stone-carving craft (with the allocation of the corresponding types of masonry in a certain historical period) can be reconstructed only with a comprehensive examination of all of them. As the most interesting objects in this regard, the article cites a number of architectural remains belonging to the monuments of the distant chora of Tauric Chersonesos dating to the second half of the 4th century B.C.E.


Te Kaharoa ◽  
2017 ◽  
Vol 10 (1) ◽  
Author(s):  
Kelli Te Maihāroa

This paper traces the peacebuilding efforts of Anne Te Maihāora Dodds (Waitaha) in her North Otago community over the last twenty-five years. The purpose of this paper is to record these unique localized efforts, as an historical record of grass-roots initiatives aimed at creating a greater awareness of indigenous and environmental issues. It describes the retracing of ancestral footsteps of Te Heke Ōmaramataka (2012), the peace walk at Maungatī (2012) and the Ocean to Alps Celebration (1990). This paper also discusses the genesis behind cultural events such as Oamaru Stone Carving (2000), the short film entitled Tohu (2006), the dramatization of Te Maihāroa and Te Heke (2002) and the historically significant Waitaha Taoka (treasures) held within the Willets Family Artefacts Collection (1990). The accompanied whānau photographs present a visual snapshot of these experiences and provide a sense of the occasions. This paper is concluded with a brief synopsis of these peacebuilding activities, and the added richness to this rural community.


1962 ◽  
Vol 28 (2) ◽  
pp. 245-246 ◽  
Author(s):  
Donald E. Thompson
Keyword(s):  

AbstractTwo carved stones depicting human heads are currently to be found at Huaylas in the Callejon de Huaylas, Peru. They represent a style so far unreported from the Callejon. The closest stylistic similarities are to be found in the Chavin style and in the unique monoliths at Cerro Sechin Temple in the Casma Valley.


Sign in / Sign up

Export Citation Format

Share Document