From the 'cinematic' to the 'anime-ic': Issues of movement in anime

This is the author's accepted manuscript. The final published article is available from the link below.This article explores the way that movement is formally depicted in anime. Drawing on Thomas Lamarre's concepts of the `cinematic' and the `anime-ic', the article interrogates further the differences in movement and action in anime from traditional filmic form. While often considered in terms of `flatness', anime offers spectacle, character development and, ironically, depth through the very form of movement put to use in such texts.The article questions whether the modes of address at work in anime are unique to this form of animation.Taking into account how the terms `cinematic' and `anime-ic' can be understood (and by extension the cinematic and animatic apparatus), the article also begins to explore how viewers might identify with such images

Freeform User Interfaces for Graphical Computing

報告番号: 甲15222 ; 学位授与年月日: 2000-03-29 ; 学位の種別: 課程博士 ; 学位の種類: 博士(工学) ; 学位記番号: 博工第4717号 ; 研究科・専攻: 工学系研究科情報工学専

Comics and authorship : an introduction

If media authorship can be understood "as a site of cultural tension" (Johnson and Gray 2013, 10), then a deeper understanding of comics authorship will also provide clues regarding the sustaining—and constraining— of creative practices in other media ecologies and intermedial interactions (such as, for instance, adaptations). For comics, this implies combining insights from comics scholars, practitioners as well as agents involved in the publication and dissemination of comics. This issue, building on the findings of extant scholarship on authorship in comics and other media, hopes to provide incentive for further adventures into the (almost) unknown of comics authorship

Automat, automatic, automatism : Rosalind Krauss and Stanley Cavell on photography and the photographically dependent arts

How might philosophers and art historians make the best use of one another’s research? That, in nuce, is what this special issue considers with respect to questions concerning the nature of photography as an artistic medium; and that is what my essay addresses with respect to a specific case: the dialogue, or lack thereof, between the work of the philosopher Stanley Cavell and the art historian-critic Rosalind Krauss. It focuses on Krauss’s late appeal to Cavell’s notion of automatism to argue that artists now have to invent their own medium, both to provide criteria against which to judge artistic success or failure and to insulate serious art from the vacuous generalization of the aesthetic in a media-saturated culture at large. Much in the spirit of ‘Avant-Garde and Kitsch’, paying attention to the medium is once again an artist’s best line of defence against the encroachment of new media, the culture industry, and spectacle. That Krauss should appeal to Cavell at all, let alone in such a Greenbergian frame of mind, is surprising if one is familiar with the fraught history of debate about artistic media in art theory since Greenberg. Cavell’s work in this domain has always been closely associated with that of Michael Fried, and the mutual estrangement of Fried and Krauss, who began their critical careers as two of Greenberg’s leading followers, is legendary

Placing Arrows in Directed Graph Drawings

We consider the problem of placing arrow heads in directed graph drawings without them overlapping other drawn objects. This gives drawings where edge directions can be deduced unambiguously. We show hardness of the problem, present exact and heuristic algorithms, and report on a practical study.Comment: Appears in the Proceedings of the 24th International Symposium on Graph Drawing and Network Visualization (GD 2016

Visual representation in the drawings of children from 6 to 9 years old : creating an animated project

Drawing has been one of humanity's most widely used forms of expression. It has been used for communication since the prehistoric period, long before written communication was developed, and for artistic purposes, both as final objects and as drafts for the development of other pieces. Although many abandon it in adulthood as a primary tool of expression and communication, everyone experiences it at some point in their life, especially during childhood. Children use it as part of their play, to create narratives from simple characters or actions, and to express their perceptions of the world around them. With this in mind, this research work’s aim was to study the aspects of cognitive and visual development that represent children from 6 to 9 years old, the impact of creativity and imagination on their artistic activity and the playful way in which children face the act of drawing and their own drawings. Furthermore, this research focused on the characteristics of children’s visual representation and how their drawings could be incorporated in an animated project. The research was developed in two distinct components, a theoretical and a practical one. After a continuous observation and monitoring of the drawing process of children between 6 and 9 years old, the research evolved through a literary review of the various theories of children’s drawing and art, as well as the role of artistic education and external influences for children’s artistic development. At a cognitive level, perception, symbolic thought, the concepts of imagination, creativity and play were studied, and a revision of the drawing and denotative systems and the canonical views was also addressed. Some of the main characteristics common to most of the drawings corresponding to this age group were compiled. Then, through the organisation of drawing sessions with a group of children between 6 and 9 years old, a careful observation was led, making it possible to verify some of the theoretical investigation in practice. These drawing sessions were organised reflecting the various authors previously reviewed, with the aim of presenting activities that were not limiting to the child or with some defined endpoint. Although only three sessions were organised specifically for the project, the monitoring of these children was continuous, taking place throughout the year, so practice and theory were constantly nurturing one another. Afterwards, the drawings and audio recordings resulting from the sessions presented the starting point for the making of animated experiments. In this way, considering that animation and drawing are closely related, we approached animation as a tool to reflect on the children’s drawing process, as well as to praise and value some of its characteristics. This research allowed us to achieve an understanding about the impact of drawing and artistic activities in children’s development: that drawing, combined with play, works as a means for children to investigate and get to know the world, to understand the relationships that are established around them, as well as exploring the possibilities of representation and meaning. In addition, it allowed us to understand the role of the environment and that external adult support should be guiding and assisting in artistic activities, without, however, limiting and restricting children to their adult vision. Moreover, the fact that the vocabulary and terms used to describe children’s art are generally comparable to adult art helps to propagate the theory that children’s drawings are fraught with errors and faults.O Desenho tem sido uma das formas de expressão mais utilizadas pela humanidade. É utilizado para comunicar desde a pré-história, muito antes do desenvolvimento da comunicação escrita, e para fins artísticos, tanto como objetos finais quanto como rascunhos para o desenvolvimento de outras peças. Embora muitos o abandonem na idade adulta como principal ferramenta de expressão e comunicação, todos o vivenciam em algum momento da sua vida, principalmente durante a infância. As crianças utilizam-no como parte das suas brincadeiras, para criar narrativas a partir de personagens ou ações simples e para expressar as suas perceções do mundo em seu redor. Com isso em mente, este trabalho de investigação teve como objetivo estudar os aspetos do desenvolvimento cognitivo e visual que representam as crianças dos 6 aos 9 anos, o impacto da criatividade e da imaginação na sua atividade artística e a forma lúdica com que as crianças encaram o ato de desenhar, bem como os seus próprios desenhos. Para além disso, este estudo concentrou-se nas características da representação visual infantil e no modo como os desenhos das crianças podem ser incorporados num projeto de animação. A pesquisa foi desenvolvida em duas componentes distintas, uma teórica e uma prática. Após uma contínua observação e acompanhamento do processo de desenho de crianças entre os 6 e os 9 anos, a investigação evoluiu através de uma revisão bibliográfica das várias teorias do desenho e da arte infantil, bem como do papel da educação artística e das influências externas para o desenvolvimento artístico das crianças. A nível cognitivo, estudou-se a perceção, o pensamento simbólico, os conceitos de imaginação e criatividade e a brincadeira, e foi também abordada uma revisão dos sistemas de desenho e denotativos e das vistas canónicas. Assim, foram compiladas algumas das principais características comuns à maioria dos desenhos correspondentes a esta faixa etária. De seguida, através da organização de sessões de desenho com um grupo de crianças entre os 6 e os 9 anos, pôde ser conduzida uma observação atenta, permitindo verificar na prática uma parte da investigação teórica. Estas sessões de desenho foram organizadas refletindo os vários autores revistos anteriormente, com o objetivo de apresentar atividades que não fossem limitantes para as crianças nem com um objetivo final definido. Ainda que apenas três sessões tenham sido especificamente organizadas para o projeto, o acompanhamento destas crianças foi contínuo, decorrendo ao longo do ano, de maneira que a prática e a teoria se foram alimentando constantemente. Posteriormente, os desenhos e áudios resultantes das sessões representaram o ponto de partida para a realização de experiências animadas. Desta forma, tendo em conta que a animação e o desenho estão intimamente relacionados, abordamos a animação como uma ferramenta para refletir sobre o processo de desenho infantil, bem como para enaltecer e valorizar algumas das suas características. Esta investigação permitiu a compreensão do impacto do desenho e das atividades artísticas no desenvolvimento das crianças: que o desenho, aliado ao brincar, funciona como um meio para a criança investigar e conhecer o mundo, compreender as relações que se estabelecem à sua volta, bem como explorar as possibilidades de representação e significação. Além disso, permitiu compreender o papel do meio envolvente e que o apoio externo adulto deve ser guiando e assistindo as atividades artísticas, sem, no entanto, limitar e restringir as crianças à sua visão adulta. Além disso, o facto de o vocabulário e termos utilizados para descrever a arte infantil serem geralmente comparativos à arte adulta ajuda a propagar a teoria de que os desenhos infantis são repletos de erros e falhas

3D digital modelling, fabrication and installation for understanding space and place

Traditionally the teaching of history or theory on art and design courses often takes place in a lecture theatre. Space and place theory is integral to informing the practice led and practice-based experiences in architecture, interior and the built environment. The research team has investigated how digital modeling, fabrication and population tools can enhance the understanding of current theoretical debates surrounding space and place. The aim is to integrate inter-disciplinary practice allowing us to address key research questions relating to the emergence of digital fabrication and its potential impact upon art and design education. The purpose is to provide an engaging and informative situated display, offering an experiential and intuitive frame of reference for constructing and placing objects, activities or events into their spatial context. The research has potential to act as an integrative experiential framework through which we can learn more about different contexts or connections between themes or theories which provides a deeper understanding of space or place. In this new work with Taylor, Benincasa, and Unver evolve their practice through translating 3D research data for a series of new digital and physical experiments intended for enhancing or informing teaching and learning in art, design & architecture. The researchers experimented with a range of 3D software and the functionality of different tool parameters. Fabrication apps and 3D crowd simulation animation tools were used for the first time in this research to explore digital fabrication using cardboard in order to compose and construct 2D and 3D physical simulations of this well-known built environment in the landscape. The fabricated physical cardboard models we produced were located in studio spaces and 3D visual projection live drawing experiences were tested with students and staff working together. The 2D and 3D simulations that the team envisioned are both digital and real; and when installed facilitate a more kinesthetic experience of learning as students are able to create together, and interact with fabricated structures. This evolving research demonstrates how these 3D models, animations and fabrications have the potential to be used together as a catalyst to explore multiple projections of space, place identities, historical and cultural built environment concepts for art, design and architecture students at undergraduate and postgraduate level