Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Editorial

Editorial With its unlimited potential for visually representing events, scenarios and forms that have little or no relation to our experience of the ‘real’ world, animation is increasingly implemented in many ways in many disciplines. It can depict imagined ‘worlds’ and fantastic beings, from the blockbuster Matrix trilogy or indie production Waking Life (2001) and the Oscar-winning Spirited Away (2002) to risk-taking shorts like Fast Film (2003) or the Oscar-winning Ryan (2004). Yet especially since the digital shift, the uses and definitions of animation have become permeable and animation is infiltrating a wide range of visual culture to an aston- ishing degree. Artists increasingly incorporate animation in installations and exhi- bitions, and star architects use computer animation software to visualize interactive architectural ‘walk-throughs’ or to create narratives of space in time. Creative output also finds its way into avant-garde high-tech computer sciences too. In institutions like IMTEK and MIT, researchers are exploring games industry software to interpret abstract concepts and nanoworlds for a breadth of industries ranging from biomedicine to structural engineering. And, of course, independent and commercial animators continue to astound us with their humorous, poetical and philosophical narratives of the human condition, using both lens-based and digital animation. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Animation: An Interdisciplinary Journal SAGE

Editorial

Buchan, Suzanne
Animation: An Interdisciplinary Journal , Volume 1 (1): 4 – Jul 1, 2006
Download PDF
4 pages

Loading next page...
 
/lp/sage/editorial-wnAwL9ZUvg
Publisher
SAGE
Copyright
Copyright © by SAGE Publications
ISSN
1746-8477
eISSN
1746-8485
DOI
10.1177/1746847706065837
Publisher site
See Article on Publisher Site

Abstract

With its unlimited potential for visually representing events, scenarios and forms that have little or no relation to our experience of the ‘real’ world, animation is increasingly implemented in many ways in many disciplines. It can depict imagined ‘worlds’ and fantastic beings, from the blockbuster Matrix trilogy or indie production Waking Life (2001) and the Oscar-winning Spirited Away (2002) to risk-taking shorts like Fast Film (2003) or the Oscar-winning Ryan (2004). Yet especially since the digital shift, the uses and definitions of animation have become permeable and animation is infiltrating a wide range of visual culture to an aston- ishing degree. Artists increasingly incorporate animation in installations and exhi- bitions, and star architects use computer animation software to visualize interactive architectural ‘walk-throughs’ or to create narratives of space in time. Creative output also finds its way into avant-garde high-tech computer sciences too. In institutions like IMTEK and MIT, researchers are exploring games industry software to interpret abstract concepts and nanoworlds for a breadth of industries ranging from biomedicine to structural engineering. And, of course, independent and commercial animators continue to astound us with their humorous, poetical and philosophical narratives of the human condition, using both lens-based and digital animation.

Journal

Animation: An Interdisciplinary Journal – SAGE

Published: Jul 1, 2006

There are no references for this article.