Author: Linda Mayoux

  • Research 5.5: Performance, expanded cinema and animation

    TASKFind examples of animation that challenge the role of the audience. Reflect on how the audience have been included in the performance or presentation of the animation, and how this challenges ideas of audience, participation, cinema or animation. Tip: Writing a gallery proposalWhen working with galleries, whether you are making work to be shown inside […]

  • Research 5.4: Animations outside the gallery or cinema

    TASKDo some research to identify three different examples of showing work using the internet or mobile platforms or setting up animations as an installation outside of gallery or cinema spaces. Reflect on how these approaches engages an audience that might be different to conventional approaches to art or cinema. As a starting point, look at:● […]

  • Research 5.3: Gallery Installations

    TASKReview photographic and other documentation of animations that have beenincluded in gallery installations. Make notes on how the artist has chosen toinstall their work, thinking about the format, frame, atmosphere, and audience.Think about the practical issues of these installations in terms of the equipmentand other objects that were needed, and the duration of the screenings.Compare […]

  • Research 5.2: Viewing different scales and durations

    TASK: Choose three different films or video with animated content that you have seen recently: one in the cinema and another on a phone, laptop or tablet.● Write about the difference between these three viewing experiences.● Do you think the scale of the screen affected how you understood the film and your ability to concentrate?● […]

  • Research 5.1: optical devices

    TASKSearch online for other examples of using phénakistoscopes, optical devices, flipbooks or Arduino or Raspberry Pi software.You can watch footage of T. McLean’s optical illusions or magic panorama (1833) by performing a quick google search.Find and name a range of optical toys and devices either from the 19th and 20th century, or later if you […]

  • Research 4.10: social media

    TASKArtists Ryan Trecartin and Emma Calder both make use of social media as the source for their animation and video work. Each ask how cameras, social media, and reality TV have changed the way we engage with the world and with one another. Watch the videos made by both artists as a starting point to […]

  • Research 4.9: Video Games and Corporate Video

    Of all the digital animation that is produced, corporate videos and video games are possibly the most numerous form. The various visual styles of this non-advertisement based graphic content can be a rich source of material for artists.Explore either video games or corporate video as your focus. Research several kinds of contemporary corporate video online […]

  • Research 4.8: Something is missing

    TASKUndertake research into absence and representation in moving image and buildup your own argument about whether ‘something is missing’ in digitalrepresentation. For example;● In what ways can representation be defined by an absence?● Why is this particular to animation and the digital world?● What will the future be like?Your argument can be in written, recorded […]

  • Research 4.7: Image quality

    TASK:Identify animations that uses good and/or bad image quality in interesting ways. Write a short piece (written, audio or animated) that draws together your research and viewpoints on image quality. Your essay can be presented in written, audio or video form (Approximately 1500 words, 3 minutes audio or 1 minute video).Reflect on these animations in […]

  • Research 4.6: More Real

    TASK:Do you agree with Peter Jackson that high frame rates allow an audience to see more reality?If so, do you think this is desirable? If not, what other motivation do film-makers and animators have in pushing for such high frame rates?Use OCA’s discuss forums to share your thoughts and any animation references.