Symbolism and mystification in animation
Reflecting on the structure of the practice experimentation, that is that the experiments range from cgi-craft in a cyclical form, i am considering two things. Firstly, if it is necessary, and possible to have a consistent visual form that reduces the narrative content to symbolism only, and if the symbolism in itself is a stand alone project.
If this exploration was just one of media hybridity then using only one line could be useful. however, if this exploration is about symbolism and mysticism, and the use of hybrid media then it will be okay to use a symbol loaded with mystical content.
In using a symbol loaded with mystical content it may be possible to illustrate that an aspect of nature mystification may lie in the human need to abstract form from nature, and also to see form and symbols in random patterns in natural phenomena.
This links back to the early research into animation visual and special effects traditions (gillands, elemental magic). This research was tracked through drawn animation, and studied in location C, observed in the natural environment.
I refer back to the text 'understanding animation', in reference to animation symbolism. This is an aspect of practice that is essentially linked to mystification in abstraction rather than representation of the object within a 'real-life' context, as in film. This idea could be used to illustrate how Photorealism seeks to represent nature in cgi and how abstraction occurs in nature/craft relations, while also engaging with the notion of mystification that is inherently part of the 'nature' context. The 'mystification' of nature can be explored through the symbol and pattern. What is interesting in the project so far is that the basic assumption that differentiate cgi from craft and vice versa , are not clear cut. There is a lot to explore in this and it is felt that narrowing the parameters of the study will take place over the next three months.
I have felt that I needed to have a space between the cgi-craft experimentation in which I could allow aspects of non-control, chaos and chance to emerge as both craft and cgi have mechanisms for control within them. My interest in entropic conditions and found systems in practice allows space for the unexpected to occur and for the opportunity to work with error. This has always been considered as a way in which the practice works in collaboration with the natural elements, rather than representing them symbolically and seeking to control them overtly. There has always been a sense of working in the space of chance and error in full awareness that the mystification of nature is a complex issue but that in placing work in this context another layer or mysticism can be effectively achieved. To deconstruct and demystify the mystical in a naturally mystified context has been a way of sitting within the fulcrum of mystification. The application of the basic principles of cgi modelling to the craft artefact, is another strategy for layering mystification of craft, and nature on to the cgi object.
These strategies become ways in which the mystification/demystification Turning point can be isolated and observed..the combination of these strategies ranging from symbolism, nature-culture, craft, cgi and mystification could create a complex project that needs simplification.
This is being worked through in practice. It is the intention to map of the structure of the experimentation as a linear(looped) format ranging from cgi at one end of the spectrum, chaos in the centre, and craft at the other, using simple abstracted forms in cgi and craft, with real objects and phenomena in the central section.
Image to be posted shortly.
