By Kenny K. N. Chow (auth.)
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Additional resources for Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness
Yet these approaches primarily centralize animated images in the context of cinema or television. The differences between these ‘old’ media and computational media in distribution and consumption terms render some theoretical arguments related to conventional animated ﬁlms or TV shows not directly applicable to new computational animated phenomena. For example, an animated ﬁlm or television show often dominantly engages with its audience’s visual and aural senses for a certain period of time lasting for minutes at least.
This book is an inquiry into the relationship between the technology-enabled animated phenomena and our embodied cognition. In the following sections, I revisit the several areas of knowledge and practice related to theorizing animated phenomena. Each of them starts with a cursory overview of the inﬂuential ﬁgures, approaches, perspectives, and beliefs in the ﬁeld, followed by underscoring those insightful links to the embodied cognition thought that entails bodily experience. The study of animation The ﬁeld of animation studies represents a set of humanistic concerns for animation, including aesthetics and interpretation.
When an iPhone user drags an app icon across the screen and other icons make way for it, does it conjure up the idea of a person making his or her way through a crowd? When vertical lines sway on the screen of an interactive installation, would one immediately think of a breeze in the virtual space, a puppet master behind the screen, or instead, the swaying lines assuming a soul, an autonomous will of their own? In fact, every dynamic presentation reminds us of life to a certain extent. There is a spectrum of animated phenomena with subtle differences in liveliness.