The evolution of trans-architecture in animation?
My own definition of transarchitecture was formed when I began to consider if there was an existing term that defined a person that works across different media... This led to the term transliteracy used in librarian theory to mean ' a person that is literate across media'.
Thinking about this is began to think about if the term could be altered to better define a person that is literate across three dimensional media specifically, and I coined the term ' transarchitecture. On searching this term I came across the definition written by a theorist Marcos Novak in a paper entitled ' the meaning of trans-architecture'
In this paper, Novak describes how architecture has mutated... I began to consider if the evolution of animation is in fact the story of this trans architectural mutation.
The research project explores ways in which animation senses and works with multiple levels of architecture, applying craft thinking to cgi modelling in an attempt to locate points of resistance, and better understand the difference-similarities of the many forms of physical and psychological architectures from within practice.
I have tried to apply this thinking to specific aspects of animation by example of how animation has a three dimensional dynamic view of the world, and explore ways in which this view informs the construction of visual and special effects that are physically constructed in animation practice but also considers the way in which that can be interpreted by the audience that special and visual effects occupy the space between the thing and its metaphor (with origins in totemism (nature centred human-culture) and animism/apophenia (human-centred nature-culture).
Thought links
Dynamic transarchitectural thinking in contemporary animation.
The dynamic 3D constructed and found systems worldview.
How transarchitectural thinking and construction is deployed in animation.
Methods of constructing transarchitectural modelling in practice experimentation
Ways in which the animator constructs mental spatial models in practice.
Physical modelling in stop-motion
Virtual construction in 3D cgi animation modelling
Applying craft thinking deployed in stop-motion model making to cgi modelling.
Reconfiguring materiality as a method of alignment
Thinking of cgi as a form of totemism (nature-centred human-culture) fractal scaling in nature.
Examining the workmanship of risk in cgi
Working with error in ecological physical space as a method of sensing a systems control, limits and architecture,
how this is engaged with in the physical, psychological and virtual modelling in both stop-motion and cgi modelling in practice.
how this world view gives rise to a thinking about world as a thing and a metaphor
Example: visual and special effects.
Interpreted by the spectator as a physical dynamic model of a living thing as well as having similarities to something else, ( that in linear narrative animation could be illustrated as the anamorphic qualities of Disney's drawn special effects animation) having roots in animism (human-centre nature-culture) and apophenia.
Thinking about this is began to think about if the term could be altered to better define a person that is literate across three dimensional media specifically, and I coined the term ' transarchitecture. On searching this term I came across the definition written by a theorist Marcos Novak in a paper entitled ' the meaning of trans-architecture'
In this paper, Novak describes how architecture has mutated... I began to consider if the evolution of animation is in fact the story of this trans architectural mutation.
The research project explores ways in which animation senses and works with multiple levels of architecture, applying craft thinking to cgi modelling in an attempt to locate points of resistance, and better understand the difference-similarities of the many forms of physical and psychological architectures from within practice.
I have tried to apply this thinking to specific aspects of animation by example of how animation has a three dimensional dynamic view of the world, and explore ways in which this view informs the construction of visual and special effects that are physically constructed in animation practice but also considers the way in which that can be interpreted by the audience that special and visual effects occupy the space between the thing and its metaphor (with origins in totemism (nature centred human-culture) and animism/apophenia (human-centred nature-culture).
Thought links
Dynamic transarchitectural thinking in contemporary animation.
The dynamic 3D constructed and found systems worldview.
How transarchitectural thinking and construction is deployed in animation.
Methods of constructing transarchitectural modelling in practice experimentation
Ways in which the animator constructs mental spatial models in practice.
Physical modelling in stop-motion
Virtual construction in 3D cgi animation modelling
Applying craft thinking deployed in stop-motion model making to cgi modelling.
Reconfiguring materiality as a method of alignment
Thinking of cgi as a form of totemism (nature-centred human-culture) fractal scaling in nature.
Examining the workmanship of risk in cgi
Working with error in ecological physical space as a method of sensing a systems control, limits and architecture,
how this is engaged with in the physical, psychological and virtual modelling in both stop-motion and cgi modelling in practice.
how this world view gives rise to a thinking about world as a thing and a metaphor
Example: visual and special effects.
Interpreted by the spectator as a physical dynamic model of a living thing as well as having similarities to something else, ( that in linear narrative animation could be illustrated as the anamorphic qualities of Disney's drawn special effects animation) having roots in animism (human-centre nature-culture) and apophenia.
