"A light table is a viewing device that is used to review photographic film or artwork placed on top of it. A horizontal form of a self-standing lightbox, it provides even illumination of the subject from below through a translucent cover and fluorescent lights that emit little heat."
In the relationship of drawing to movement and the audience's innate complicity with diegetic agents in movement in media content such as a cartoon character, KLINE explores the nature of surfaces and interlaces tonality in deeper impressions of aquarelle. Time plays an important role as his delicate canvasses gradually reveal their nature incongruence to a periodic process of inspection from the viewer. There is a stripe tease at play. We are triggered to unravel a missing piece of information. In TURBINE, this strategy of fascination via anticipation and partial access is omnipresent. When the protagonist endures a final metamorphosis, the way I orchestrate the space and time mimics a similar strategy to KLINE. In materials, we are worlds apart, but since we are actually looking at the work as a kinetic sculpture that resides in the cognition of the viewer, that material contrasts become immaterial. The stripe-tease becomes almost identical with the respective differences of the medium. The schema of the character is muddled to ignite excitement. As the character is depicted slowly removing a gown, the map of vision gradually allows for a new schema to emerge for the white anonymity of variable potential.Even LAU's storytelling via building spaces with interactivity that measure the line between fact and myth in a mixture of socio-political commentary, Chinese literary symbolism, and spatial representation are directly similar as TURBINE also is about world-building SPACE TIME in a confusing schematic/synthetic space between visual coordinates and hierarchy of symbols. Again, the materials at play are changing, but the focus is on the viewer's harvesting of the art piece via experiencing it. The performance of animating it understands the projection of the intended experience of the symbolic and volumetric mixture with a little confirmation bias as possible while performing the line of animating TURBINE.
In a similar pursuit, JODOIN, as a practitioner of the moving image, views KLINE and LAU’s “Weave” Exhibit in terms of a sequential experience, with different phases of exploration, where things are revealed to the visitor, but not in a traditional sense where artifacts are frozen in a hermetic gallery space for viewers to examine and synthesize. This traditional approach of the exhibition of KLINE and LAU’s “Weave” Exhibit, according to JODOIN, allows for a sort of depletion of the exhibited content; the viewer is first provoked to examine a stimulus. Once scanned closely, the initial problem is resolved, and the viewer moves on to another room, hence navigating in a synthetic space unconscious of its own narrative. In contrast to this antecedent understanding of the exhibition space and experience, “Weave” provides for JODOIN a told story in time, with manipulation of trajectory via the weaving textures and architecture and also via the captured everlasting moment of an unquenched thirst; the images resist revealing all their details to the viewers no matter how closely examined. It’s an exercise in spatial manipulation
Examining the process of TURBINE leads makes the dichotomy between real and virtual pressing. Drawing becomes an antidote to photography, as it extrudes the phenomena of synthesis from within onto the frame while remaining free from the linear focal point. For SILVERMAN, Photography, with respect to an emulsion of sensory input, is the world telling us that IT exists independently. This implies that these tools validate objectively a vision outside the loophole of self-reference as a third party, the machine, has produced an impression understood as it's own vision, secondary to human vision. Since drawing TURBINE floats in the realm of mutual agreements between my animation and readable schemas, I map a network of objectively validatable anchors onto the wrapping. This insurance policy that things exist outside of me, measurable by TURBINE's communicability is drastically similar to photography, though the emulsion captures an internal process instead of the stimuli of the natural environment. That captured internal wilderness then is unzipped on the viewer, by their processing of schema, of space. The viewer's vision is highlighted from the contrast of this second vision of photography, as imagination becomes the alternative of two in the face of reality, a constructive vision from the schema. Then the concept of analogy relates to the branching out of imagination into a sort of schema between schemas, bridging images by their meaning instead of their initial visual nature. It's harder to show this in the actual shots of the film, so I filmed some of the processes of drawing to demonstrate how the images are in fact writings of objective hieroglyphics that build the shape, the story. I'm kept in check, just like the photographer, to an exterior reality, although my case involves the audience's perception while the photographer deals with the real as raw material. Coming even closer to animation, SILVERMAN also looks at TIME as the identification of empirical stimuli as it's information from my senses about outside reality. TIME projects its origins and potential future, similar to a line of thought onto virtual space in animation. The viewer, as a pattern-recognizing creature, situates story agents implement from imagination to make meaning and generate any knowledge; TURBINE's characters and inhabited spaces are hence subjugated to my commodification of its functions in the documented process above. I connect my vision to SUMMER's ideas as I am leveling the presence of virtual creatures and places on flat virtualization to a common subjective hieroglyph to communicate it to you so that you think of the TURBINE story on your own terms, keeping me in check like the photographer answers to light.
Examining the 3 experimental drawings we made in class is essential in angling the performative line of TURBINE. The second exercise explicitly concerned animation, but it's the internal process, the performance of SPACETIME VISION which calcified into drawing 1 and 3 that are most useful.
A gratifying experiment was for my center of held sight to become the center of the screen of my WACOM tablet as I drew with a digital pen. Holding frontally still, I started synthesizing my peripheral vision by intuition, or as ARENDT would say, IMAGINATION; as I held my look forward, the chain of speculations I made of my surroundings soon started bleeding the boundaries between things, meshing my flesh bound container to the imagined wrapping of the environment which makes up my world. The fringes’ level of conciseness devolved as an almost medical realm evolved; The ligaments, even a sort of intestinal modular shape express the back of my head, between and beneath my eardrums, interlaced with architecture and objects of my studio. This was an expression of the bridging of stimuli into schema expressed in previous modules. In TURBINE, this strategic confusion of container and wrapping allows for frames to mutate in a narrative constant redefinition of anatomy in an almost identical approach, showing the performance of synthesis at work. The characters and objects can only be seen once meshed in an almost sexual, genetic synthesis of anatomies.
A combination of sensorial input (1) from the outskirts of my eyesight, nerves from the hair, stomach, but also (2) a sort of new blockchain of hieroglyphics (in the sense of zipped-format representation of situated feeling) from past experience/ memory, and imagination resulting from projection derived from memory. This memory became the anchors that situated a figure somewhat impermeable from the variableness of the outskirts of definition.
In contrast to the first drawing, the third was fully speculative as it was an exercise on depicting TIME. It falls even more explicitly in line with the performative nature of sequential drawing in TURBINE; With an idea of gravity pulling time in a sort of "melting" of otherwise stagnant shapes, the time worms defined in module 5 are echoed. In the realm of the schema, so to speak, I expressed shapes in their overarching potentials, in slices/ animation frames on potential functions and positions in time, such as the hand with various fingers as I drew the space. In Animation, this idea of potential is often referred to as a LIFELINE. TURBINE hence PERFORMS, in its process of being drawn, a curation of that spectrum of slicing SPACETIME.
Drawing asks questions on SPACETIME and VISION. When contemplating myself in the act of creating TURBINE, I should be able to focus on what it is that I'm actually seeing and doing in these terms. It also becomes apparent that there is no border between passive reception and creation, as the vision itself is a creative act in the patchwork of meaning from outside stimuli. What is strange is that with animation, this process is two-folded. An inverted metabolism of SCHEMA is produced from the mind onto the page and then reversed from the frame into the patchwork of the audience. VISION in animation hence becomes an exercise of empathy and caring, as we build models from collectively acceptable prototypes. TURBINE an experimental drawing, digital, analog, hand-made, and performed product of vision, becomes the documentation of that two-way circuit. Vision is not insular, it is also communication when logged into the crystallization apparatus of the animation process. Because TURBINE explored how a line can be used to investigate space but depends on my understanding of the agreed schema and also keeps itself in check with measured results qualified by the efficiency of communication, it becomes similar to the camera's role. The striking difference is that it still keeps us in check to empirical reality, but doesn't photograph the outside world; rather it empirically weights internal processes, an inside world. I used TURBINE to find out something about how I perform representations of space; Its illustrative or communicative function as a tool are secondary applications; the act of building a drawn virtual representation of space is an exposure of my internal processes. However, I concluded that it is a two-way schematic language, social at its core for the described dichotomies and relationships above.
TURBINE is a snapshot of the underlying performance of space-time awareness.
This leads to my proposed SYNTHESIS that my animated film TURBINE is a performative act, not an illustrative one. The happy accident that confused the process as anything but performative is that with this type of performative drawing, internal processes of vision and spatial projection are crystallized in the drawn frames as internal snapshots, documents of the animator’s cognition. The illustrated virtual space in the cartoon is an accident, or the sand on the floor in a dance piece rather than the main event, and can be abstracted as the actual drawing in the mental reasoning of the animator, crystallized in the animation. My film TURBINE extends this idea that drawing is an investigation into the idea of space, into ideas of space via the performance of the line.
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