By Kenny K. N. Chow (auth.)
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Extra resources for Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness
As the celebrated animator Norman McLaren puts it, Animation is the art of movements that are drawn; what happens between each frame is much more important than what exists on each frame (Furniss, 1998, p. 3). This well known dictum marks movement as the essence of animation, rendering the word inappropriate and inadequate to encompass the multiplicity of senses entailed in what I mean by animated phenomena. Moreover, the phrases ‘computer animation’ and ‘digital animation’ seem to mean just animated images generated by computers, which are commonly called computer-generated images or CGI.
5–6). Research in ﬁlm-based animation has contributed an immense and powerful corpus for the analysis of works creating an illusion of movement with sequential images. Such research related to animation narrative or aesthetics would be particularly insightful for the analysis of animated phenomena in computational media. Yet these approaches primarily centralize animated images in the context of cinema or television. The differences between these ‘old’ media and computational media in distribution and consumption terms render some theoretical arguments related to conventional animated ﬁlms or TV shows not directly applicable to new computational animated phenomena.
Method and organization The topic of this book is the human experience of animated phenomena in today’s digitally mediated environments. Grounded in the embodied mind, humans encountering animated phenomena are engaged in sensory perception and bodily action, meanwhile making meaning of their sensorimotor experience. With computing and related technologies, these phenomena are generated on the ﬂy and presented in real time. Their dynamic and interactive characteristics render a digital product spontaneous and contingent.