By Kenny K. N. Chow (auth.)
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Extra info for Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness
They jointly explain many common animated phenomena of today. The discussion on each aspect is the core of the following four chapters, which make up Part II of this book. Each of these chapters in the meantime problematizes some predominant concepts of binary opposition in the related area. Each chapter concludes by proposing a new theoretical and design principle on the study and manifestation of technological liveliness. Each principle is also encapsulated in a qualitative variable as part of the analytical tools.
The doll’s locomotion and reaction are driven by the clockwork veiled by the costume. Pacing-horse lamps The Chinese pacing-horse lamp functions like a peculiar mix of mechanized zoetrope and shadow play (Needham, 1962, p. 122; Stafford & Terpak, 2001, p. 73). The special lamp, a kind of lantern widely known in Chinese folk culture, contains a rotatable cylinder with either opaque drawings on a translucent background or cutouts on its opaque wall. The candle at the center of the lantern casts shadows onto the translucent outer screen.
In other words, the essence of animated phenomena lies not in movement but in liveliness, distinguishing the subject matter of this study from conventional CGI. In contrast to ‘animation’ I prefer the term ‘liveliness’, because the latter word has not been loaded with connotations by any communities of practice, ﬁelds of academic study, or social groups. Literally, liveliness is simply a perceptual and experiential quality. It does not assume any particular physical material, media type, presentation context, target audience group, or purpose of use.
Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness by Kenny K. N. Chow (auth.)