• Cartoon and Animation Studies
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• s.48
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• pp.23-44
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• 2017

This study explored aspect and intermedial characteristics at the beginning of the abstract animation and the semiotic meaning of abstract animation. Abstract animation was formed by arbangaridist, and there was an abstract painting on its foundations. The abstract painting belong to 'symbol sign' and do not represent specific objects. The abstract animation loses its object and we knew that the abstract animation itself to be object. Abstract animation is a category of ' media combination ' that combines abstract painting and music with intermediality. Abstract animation began based on abstract paintings, but was combined with music and time, and evolved into new media. The abstract animation was started by avant-gardists such as Walter Ruttman, Viking Eggeling and Hans Richter. They set aside their own time of abstract animation based on music. Oskar Fischinger was influenced by Walter Ruttman who completed abstract animation and went to America to continue his work. After Oskar Fischinger, John Whitney continued his genealogy using computer graphics. The abstract animation was faithful to the underlying meaning of the medium in the absence of the object for representation.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.132-141
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• 2012

This paper historically sheds the new lights on the artistic worth and achievement of abstract animation in the animation genre, and presents the contemporary significance and importance of abstract animation through the study on the avant-garde characteristic and the works of abstract animation artist, including Mirai Mizue. Though abstract animation which is artists' experimental work dealing with speed and movement of image has an essential role for the development of modern visual culture and animation, it is losing meaning and value because of the commercialism and capitalism of digital contents industry. Therefore, this paper first presents that the study of experimental animation like abstract animation contributes to the diversification and improvement of digital contents industry then it discusses the effect on the contemporary digital contents industries, next analyze the historical development and comtemporary evolution of abstract animation, which is diversified from modernism to contemporary art, and finally discuss the experimental feature and expression of abstract animation.

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.141-149
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• 2007

In this study, the use of abstraction has been considered, focusing on the abstract metaphoric expressions presented in Animatrix and it has a purpose as the case study in the use of abstraction as a unique element of animation in which imaginative ideas and stimuli are significantly important and the pioneering works of abstract animations were produced in the early 20th century. The abstract metaphors expressed in The Second Renaissance Part1 & Part2 and Matriculated among the episodes of Animatrix, the animation produced in the omnibus form directed by Wachowski Brothers and great Master in the world, can be analyzed into Anima of Abstraction abstractively expressing organic vital power, Extensity of Abstraction which 4D space is realized possibly recognizing the human emotions as well as 3D space, and Conceptualization of Abstraction directly presenting the human mentality and imaginary world.

• Journal of the Korea Society of Computer and Information
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• v.12 no.1 s.45
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• pp.25-32
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• 2007

In this paper, the abstract layer for motion capture system is designed and implemented to meet the various hardware and different capturing method. The abstract layer can offer the unified programming by providing device independent API(Application Programming Interface). The device drivers of the optical system and mechanical system are emulated to verify the designed abstract layer. The optical system employs the AOA Ole while the mechanical system uses BVH file. An application program is written to call the abstract layer functions to drive both optical and mechanical drivers and receive the frame data, simulated motion data, that are displayed sequentially on the computer screen by utilizing Direct3D.

• Proceedings of the Korea Contents Association Conference
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• 2004.05a
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• pp.562-565
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• 2004

본 작품은 보통의 애니메이션에서 나타나는 캐릭터는 등장하지 않고 거의 시종일관 미술적으로 창조된 이미지들의 애니메이션이다. 흔히 구체적인 스토리에 의해 등장하는 캐릭터들의 움직임 및 그 감정을 표현하는 애니메이션과 본 작품과 같이 구체적인 대사나 캐릭터에 의존하지 않는 이미지애니메이션을 비교해 보면 이미지애니메이션은 감독의 의도와는 상관없이 관객에 따라 느끼는 감정이 다양할 수 있다. 이는 추상미술을 감상하는 것과 같이, 보는 이에 따라 전혀 다르게 해석할 수도 있지만, 전체적인 분위기에서 감독이 의도한 것이 무엇인가를 생각하면서 감상하는 것도 좋은 감상법일 수 있다.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.3
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• pp.371-381
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• 2017

This paper presents a methodology for creating abstract animation based on the human movement theories originating from the work of dance theorist Rudolf von Laban. Laban Movement Analysis is a method and language for describing, visualizing, interpreting and documenting all varieties of human movement, and Choreutics is based on universal patterns of nature and of human as part of a universal design. Laban defines the space of movements in a profoundly dualistic way. Outwardly, his objective and scientific definitions provide a concrete base for generating human movements in computer graphics in terms of geometric and motion primitives such as points, lines, planes, polygons, linear and nonlinear movements. On the other hand, he also offers a system for understanding the subtle characteristics about the way a movement is dynamically done with respect to inner intention. Laban's interpretations of human motion can be utilized potentially in plastic arts and computer arts. Our work was inspired by those physical and psychological analyses and computer algorithms have been developed for creating abstract animation. We presented our computer animation works entitled "Choreography" in the exhibitions: a special section in "2015 Craft Trend Fair" and "Make Your Movement" held in the Korean Cultural Centre in UK, 2016. In this paper, we describe our ideas and methods for creating abstract object movements based on the Laban's motion representations.

• Cartoon and Animation Studies
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• s.45
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• pp.75-99
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• 2016

Unlike the other media, the animation has its unique aesthetic characteristics. First, one of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. Next the animation image which is created through metamorphosis obtain new space-time by unique motility. This paper treats of two parts of space and time in animation. One is the metamorphosis image of animation and the other is the motility. To concrete this, this paper analyzed Georges Schwizgebel's Works. They are very interesting that the structural characteristics of the animation. Especially, , < La course ${\grave{a}}$ $l^{\prime}ab{\hat{i}}me$ > directed by Georges Schwizgebel are a good text for analyzing space-time of animation in that it combines various metamorphosis and motility with his expressions. The images of his works are continuously maintained transformational stream by his main expressions of metamorphosis and motility etc. This study focuses on analyzing the way of metamorphosis and motility function to make meaning in this texts. His works consist with metamorphosis and motility, and various moving images to let audience feel the characteristics of space and time in animation. We can experience numerous dual structures like space and time, freeze-frame and motility, rhythm and repetition, two dimension and three dimension, dissolution and reconstitution, abstract shape and concrete form etc from these cases. One of the main apparat is the emphasis of metamorphosis and motility by independent space of animation.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.