During my talk, I will argue that the introduction but also repetition of recognizable patterns and landmarks, stabilize but also monopolize the well-known “Disney Universe” by design layouts, color schemes, which create new ways of “hybrid spaces”. The newest live action-adaptations, namely THE JUNGLE BOOK (US 2016), show an effort to integrate contemporary “state of the art” technical processes, in order to highlight the remake as part of the cosmos of Disney narratives and teleological progress of animation techniques. Mainly the Disney productions are depicting their own logo, the castle, as part of a marketing strategy of “un/real spaces” – situating and justifying fictional narratives in present entertainment structures, like the Disneyland Parks. The art of creating animated worlds already starts with the opening credits, as demonstrated by many animated films for the last decades. Un/real spaces – the art of Disney’s opening credits Panel 1: Dimensions of Classical Animation Presenting works of artists and online exhibitions, she elaborates on how the digital changes the approach to both, creating a new world of imagery and illustrating a shift of paradigms of traditions of art. Peggy will give an introduction to the meaning of animation in contemporary digital art and online exhibitions. This Keynote will provide a chance to view rarely seen archival imagery, to analyse several influential – but internationally lesser known – Smallfilms productions, and will offer insights into the curatorial process that underpinned the creation of a new permanent Smallfilms exhibition at The Beaney House of Art and Knowledge (Canterbury, UK) – an exhibition that presented the work of Smallfilms in a richly multi-dimensional manner. Using the work of Smallfilms as a prism through which to consider the conference theme, it is hoped that the audience will gain a greater appreciation of the work of Smallfilms, while, in parallel, by employing the conference theme as a new lens through which to re-interrogate my own research on Smallfilms this will prompt a foregrounding of landscape as a critical dimension. This Keynote considers the unruliness of these animated landscape across three specific dimensions: pre-production, production, and post-production. ![]() Across all of their many animated works, a constant tension – rooted in an unruliness – can be found in the development and regulation of Smallfilms’ animated landscapes. With the 2015 reboot of Clangers, this animated register expanded to include elements of post-production digital manipulation. Through productions such as Bagpuss, Clangers, Ivor the Engine, and Noggin the Nog, to name but a few, Smallfilms worked across hand-drawn, cut-out animation and model-based stop motion animation. ![]() Smallfilms animation studio, co-founded and run by Oliver Postgate (writer, animator, director) and Peter Firmin (model-maker, illustrator, writer), has occupied a prominent place in British media history since 1959. Rulers of the Unruly: Exploring the subject of Animated Landscapes through the work of Smallfilms With a special focus on the role of the detail in the representation of human bodies and natural landscapes, this talk will explore the meanings assigned to the animated image in these artists’ practices and probe how they use animation as a means to address broader questions of neoliberal subjectivity and the exercise of control over human and nonhuman life. This talk will address how Ahwesh, Atkins, and Farocki adopt forms of computer animation that deliberately depart from industry standards, query pervasive aspirations to photorealism, and/or embrace an aesthetic of the generic template. ![]() For Tucker, “bad” painting was interesting painting, painting that flouted established norms. On the contrary, it borrows from curator Marcia Tucker’s notion of “bad painting,” a concept explored in her 1978 New Museum exhibition of the same name. ![]() The title of this lecture should not be taken as a negative judgment against contemporary moving image artists such as Peggy Ahwesh, Ed Atkins, and Harun Farocki, who make use of computer-generated animation in their works, whether by appropriating existing images or fabricating their own. Atkins’ wager is that if reality can be derealised by technologies of computer generation, artificial intelligence, algorithmic scripting, etc., it might also be rediscovered there. A brief introductory lecture will be followed by a conversation with Fred Truniger and a Q&A with the audience.īad Animation: The Computer-Generated Image in Contemporary Art Atkins’ videos and animations trace a dwindling gap between digital representation and corporeal experience, metaphorising the latter by underscoring the pathos of the former. Ed Atkins will introduce his work with animation, as well as his broader practice and media theory.
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