Blind Artist Self Portrait and Materiality in Stop-motion Animation

This essay analyses touch as an essential element in blind artist artworks which strongly related to stop-motion animation technique. In their practice, some blind artist incorporate touch as the essential part in the process of making and viewing their art or self-portrait. In cinema, incorporating touch also has been applied by filmmakers in order to heightened other senses than visual and audio to bring viewer and film closer. In this essay author discussing how the element of touch in the artworks related to the touch in stop-motion animation technique.the work of Tactile Dialogues (2006), and Blind Narcissus Invent his Own Mirror (2007).

W świecie kolorowej (anty)utopii. O animowanych cyborgach w Kongresie Ariego Folmana

The article focuses on pointing out the functions of using animation technique and elements of the science fiction genre in Ari Folman’s The Congress from 2013. The film, which is loosely based on the short story The Futurological Congress by Stanisław Lem, balances on the edge of various genres, using the techniques of both live action film and computer animation. Folman proposes a glamorous, colorful vision of an (anti)utopian future, in which pharmacologically-modified cyborg-people participate in a collective hallucination, which is an alternative reality to the post-apocalyptic real world. The director makes several significant changes to the original, thanks to which he introduces a universal message and asks questions which seem far more relevant in the context of both contemporary culture and the environmental crisis that can no longer be ignored (although the issue of an impending natural disaster was also important in Lem’s works).

Animation creativity as a factor in the development of children’s giftedness

The main premise of the study is the objective need to find new means for the development of children’s personality in the modern educational process. Scientific and technological progress, the active use of technology and gadgets by children, even young children, the expansion of the use of distance learning and communication, artificial intelligence, and social networks are the realities in which we already live. Therefore, high relevance is gained by the means that are based on information technologies on the one hand but have the potential for the development of children’s personality on the other. What can be considered as one such instrument is animation creativity of children that involves the process of children jointly composing, creating, and discussing a cartoon of their own making. The assumption of the potential effectiveness of animation creativity as a means of developing children’s giftedness is based on the fact that in the process of joint creation of a cartoon, children show and develop several abilities as they create the script, images of characters, their characters and appearances, as they are involved in filming, montage, editing, as well as the presentation and promotion of the finished animated film. Children interact with one another and with technical devices, learn to listen to and hear each other, substantiate their opinion, carry the responsibility for collective work, distribute responsibilities between each other, and bring the creative idea to fruition in the finished product. The goal of the study is to conduct an empirical study to determine the effect of the author’s children’s animation technique on the development of figurative thinking in older preschool-age children. Methods: observation, conversation, measurement, creative tasks, comparative analysis of experimental data.

Experimental animation and the neosurrealist remediation of popular music video

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.

“ROCKET TO ROCKET”: SEBUAH KISAH TENTANG CITA-CITA DAN HARAPAN

Rockets are spacecraft, missiles, or flying vehicles that get a boost through rocket reactions to fluid materials. In this film the rocket represents dreams and hopes. The process of launching a rocket is the process of reaching someone's dream. The process of launching missiles into space is not easy, but that doesn't mean it can't. This film, invites the audience to be sure of hope and dare to fight for it. The creation of this animated film is presented in the form of 2D animation without using any narration or dialogue. As a support for the atmosphere, music is created that can build an atmosphere. Not forget the 12 principles of animation applied in this animated film to strengthen and improve the artistic impression as a support of visualization. The twodimensional animation technique is intentionally used because the visual form of 2D animation has a light but easy to remember impression.

Colour implementation with Fauvism Style to Limited Amination Character “We Are Different Yet We Are Same”

Fauvism is an art form in the beginning of modernism art era with focusing on color implementation that doesn’t have to represent the reality, showing the strong bond of the artist with the atmosphere he drew. Fauvism color implementation will be implemented to the short animation film with limited animation technique, “We Are Different, yet We Are The Same”. In the making, the writer uses qualitative research method. Data that gathered used as a base for the writer on character designing in limited animation “We Are Different, yet We Are The Same” with fauvism style