Defining experimental animation: A follow-up

2020 ◽  
Vol 8 (1) ◽  
pp. 11-31
Author(s):  
Paul Taberham
Keyword(s):  
Creative Process ◽  
Music Videos ◽  
Experimental Animation ◽  
Analogue To Digital ◽  
Unique Relationship

This article offers further reflections on a chapter I published in the anthology Experimental Animation: From Analogue to Digital. I begin by exploring the reticence artists and critics have shown in attempting to define what experimental animation is, and I then offer a way to provide a definition without delimiting what it is or can be. Subsequent to this, three additional traits of experimental animation are added to the original list of defining features that were published in the original article. They are as follows: the subversion of unchecked assumptions about filmic experience, a willingness to potentially alienate viewers, and the application of symbolism in which viewers might not be able to discern the artist’s original intentions. Following this, the unique relationship experimental animation has with the commercial realm (notably in idents, title sequences and music videos) is also considered. Finally, the conclusion points towards the experimental animator’s creative process as a further avenue of exploration.

Experimental animation and the neosurrealist remediation of popular music video

2020 ◽  
Vol 8 (1) ◽  
pp. 85-106
Author(s):  
Lisa Perrott
Keyword(s):  
Popular Music ◽  
Performing Arts ◽  
Music Videos ◽  
Music Video ◽  
Popular Entertainment ◽  
Close Analysis ◽  
Art And Culture ◽  
Animation Technique ◽  
Experimental Animation ◽  
Functionally Diverse

Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.

Psychological Needs Underlying the Creative Process

1992 ◽  
Vol 71 (1) ◽  
pp. 321-322 ◽  
Author(s):  
Donna Cangelosi ◽  
Charles E. Schaefer
Keyword(s):  
Creative Process ◽  
Psychological Needs ◽  
Follow Up Study

The 25-year follow-up study of the motivation underlying creativity of 10 highly creative women indicated that they create primarily to satisfy inner psychological needs for self-understanding, control, and mastery.

Social media engagements of music videos on YouTube’s official artist channels

2021 ◽  
pp. 135485652110549
Author(s):  
Yun Kyung Oh ◽  
Joon Yeon Choeh
Keyword(s):  
Social Media ◽  
Social Engagement ◽  
Empirical Studies ◽  
Music Videos ◽  
Music Video ◽  
Social Engagements ◽  
Positive Engagement ◽  
The Relationship ◽  
Do So

As social platforms become essential in promoting songs, many artists create an official channel on YouTube and encourage their fans’ engagements. However, little is known about the effectiveness of official videos in generating fans’ media engagements. We conduct two empirical studies to investigate the relationship between official video attributes, media engagements and channel subscribers. First, we propose a model to explain how music video attributes facilitate the relative social media engagements of a video. Second, we test whether three types of social engagements are associated with an increase in official channel subscribers. To do so, we collect social media engagement data for the 2896 music videos uploaded between May 2016 and April 2019 by 105 artists who own their YouTube official artist channels. The empirical evidence shows that the official videos incorporating visual, performance and storytelling components can generate more positive engagement from the viewers, while audio-only videos exhibit lower overall engagement intensity. Furthermore, we find that active media engagement, such as leaving ‘comments’, contributes to the increase in channel subscribers beyond the effect of the number of registered videos. Our results suggest that highly involved music fans may show the active types of social engagements, such as leaving a comment on live and follow-up videos. In practice, our findings imply that YouTube creators need to incorporate visual-focused platform characteristics to stimulate in-depth social engagement.

KARAWITAN TARI TOPENG SEKARTAJI TUNGGAL

2019 ◽  
Vol 18 (2) ◽  
pp. 90-107
Author(s):  
Rini Rahayu
Keyword(s):  
Design Process ◽  
Creative Process ◽  
Research Results ◽  
Musical Idea ◽  
Three Stages ◽  
Design Idea ◽  
Composition Process

AbstractTopeng Sekartaji Tunggal is dance which is inspired from the inner turmoil of the Dewi Sekartaji, a beloved daughter of protagonist Panji Asmarabangun commonly contained in narratives of Serat Panji. This research aims to know karawitan dance musical idea "Topeng Sekartaji Tunggal" corresponding to shape and work on choreography and describe the creative process when it embodies the idea of a musical idea into a tangible form gamelan musicians dance "Topeng Sekartaji Tunggal". This research uses the steps that consists of three stages, namely 1) Design the idea of Musicians: the Sekartaji mask dance with) the idea of the contents; b) work on the idea; and c) preparation of the implementation. 2) Topeng Sekartaji Tunggal dance Musicians composition process: a) Determine Material Repertoire; and b) process of the exercise. 3) Results of the work: a) results of Product; b) refinements to the Follow-up. The research results obtained are know karawitan idea design, process, and outcomes karawitan Topeng Sekartaji Tunggal dance. Keywords: design idea, kekaryaan, karawitan, Topeng Sekartaji Tunggal. AbstrakTopeng Sekartaji Tunggal merupakan tarian yang terinspirasi dari gejolak batin Dewi Sekartaji, seorang tokoh protagonis putri kekasih Panji Asmarabangun yang umum termuat dalam kisah-kisah “Serat Panji”. Penelitian ini bertujuan untuk Mengetahui ide gagasan musikal karawitan tari “Topeng Sekartaji Tunggal” yang sesuai dengan bentuk dan garap koreografi tariannya dan mendeskripsikan proses kreatif ketika mewujudkan ide gagasan musikal menjadi bentuk nyata gending karawitan tari “Topeng Sekartaji Tunggal”. Penelitian ini menggunakan langkah-langkah yang terdiri dari tiga tahap, yaitu 1) Rancang Gagasan Karawitan Tari Topeng Sekartaji Tunggal: a) Gagasan Isi; b) Gagasan Garap; dan c) Persiapan Penggarapan. 2) Proses Kekaryaan Karawitan Tari Topeng Sekartaji Tunggal: a) Menentukan Materi Gending; dan b) Proses Latihan. 3) Hasil Kekaryaan: a) Capaian Hasil Kekaryaan; b) Tindak Lanjut Penyempurnaan. Hasil penelitian yang diperoleh adalah mengetahui rancang gagasan karawitan, proses kekaryaan karawitan, dan hasil kekaryaan tari Topeng Sekartaji Tunggal. Kata kunci: rancang gagasan, kekaryaan, karawitan, Topeng Sekartaji Tunggal.

Paul Winkler: Migrating from analogue to digital practice

2020 ◽  
Vol 8 (1) ◽  
pp. 107-122
Author(s):  
Dirk de Bruyn
Keyword(s):  
The Self ◽  
Digital Culture ◽  
Image Manipulation ◽  
Moving Image ◽  
Digital Production ◽  
Experimental Animation ◽  
Analogue To Digital ◽  
Cave Painting

This article investigates the self-taught experimental animation practice of German-Australian moving image artist Paul Winkler. His practice embraces an array of image manipulation techniques, some of which he invented. This practice originated in 1964, spanning over 50 years, and has recently productively migrated from analogue to digital production. What happens to this practice when we move to digital production? Winkler’s trajectory offers a case study in the shifts and resilience of experimental animation practice through the lens of Vilém Flusser’s ‘technical image’. Flusser’s concept was developed in response to a pervasive digital culture but also reaches back into proto-cinema, maps and prehistoric cave painting.

Therapy and prevention for mental health: What if mental diseases are mostly not brain disorders?

2019 ◽  
Vol 42 ◽  
Author(s):  
John P. A. Ioannidis
Keyword(s):  
Mental Health ◽  
Mental Disease ◽  
Brain Disorders ◽  
Social Stressors ◽  
Labor Education ◽  
Mental Diseases ◽  
Long Term Follow Up ◽  
Political Decisions

AbstractNeurobiology-based interventions for mental diseases and searches for useful biomarkers of treatment response have largely failed. Clinical trials should assess interventions related to environmental and social stressors, with long-term follow-up; social rather than biological endpoints; personalized outcomes; and suitable cluster, adaptive, and n-of-1 designs. Labor, education, financial, and other social/political decisions should be evaluated for their impacts on mental disease.

Brief summary of Kleť photographic search programme for minor planets

1999 ◽  
Vol 173 ◽  
pp. 189-192
Author(s):  
J. Tichá ◽  
M. Tichý ◽  
Z. Moravec
Keyword(s):  
Ccd Camera ◽  
Minor Planet ◽  
Minor Planets ◽  
Main Belt

AbstractA long-term photographic search programme for minor planets was begun at the Kleť Observatory at the end of seventies using a 0.63-m Maksutov telescope, but with insufficient respect for long-arc follow-up astrometry. More than two thousand provisional designations were given to new Kleť discoveries. Since 1993 targeted follow-up astrometry of Kleť candidates has been performed with a 0.57-m reflector equipped with a CCD camera, and reliable orbits for many previous Kleť discoveries have been determined. The photographic programme results in more than 350 numbered minor planets credited to Kleť, one of the world's most prolific discovery sites. Nearly 50 per cent of them were numbered as a consequence of CCD follow-up observations since 1994.This brief summary describes the results of this Kleť photographic minor planet survey between 1977 and 1996. The majority of the Kleť photographic discoveries are main belt asteroids, but two Amor type asteroids and one Trojan have been found.

Intranuclear Crystals in Regenerating Canine Kidneys

1973 ◽  
Vol 31 ◽  
pp. 412-413
Author(s):  
D.G. Osborne ◽  
L.J. McCormack ◽  
M.O. Magnusson ◽  
W.S. Kiser
Keyword(s):  
Epithelial Cell ◽  
Epithelial Cells ◽  
Tubular Epithelial Cell ◽  
Tubular Epithelial Cells ◽  
Cell Nuclei ◽  
Crystalline Structures ◽  
Small Crystals ◽  
Membrane Bound

During a project in which regenerative changes were studied in autotransplanted canine kidneys, intranuclear crystals were seen in a small number of tubular epithelial cells. These crystalline structures were seen in the control specimens and also in regenerating specimens; the main differences being in size and number of them. The control specimens showed a few tubular epithelial cell nuclei almost completely occupied by large crystals that were not membrane bound. Subsequent follow-up biopsies of the same kidneys contained similar intranuclear crystals but of a much smaller size. Some of these nuclei contained several small crystals. The small crystals occurred at one week following transplantation and were seen even four weeks following transplantation. As time passed, the small crystals appeared to fuse to form larger crystals.

Sign in / Sign up

Export Citation Format

Share Document