Links to some great animation
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sandrajane smith
Apr 19, 2012, 8:46:05 AM4/19/12
to Forking Paths, Mirrored Chambers (Spring 2012)
Dear Everybody,
It was great to meet you all last night. I'm so looking forward to the
coming weeks. Here's a couple of links to some of my favourite
animation. Piotr Dumala is another Polish animator.
http://www.youtube.com/watch?v=bTMMZv-U9yI
Piotr Dumała - Latające.włosy 1984
All his work is very interesting, 'dreamlike' and beautiful. The Kafka
animations are super.
Notes from Wiki:
Piotr Dumała (born 9 July 1956 in Warsaw) is a Polish film director
and animator. His animation technique is original and fascinating,
among the most interesting of the last 30 years. While training to be
a sculptor, he discovered that scratching images into painted plaster
could be a beautiful way to create animations. This is only one
technique of a method called destructive animation, where one image is
erased (in this case, painted over) and re-drawn to create the next
frame in the sequence. William Kentridge is another artist who works
in this destructive way. Dumala's main themes, and the way to show
them, recall ostensibly the world of writer Franz Kafka. His film,
Crime and Punishment, was included in the Animation Show of Shows.
http://archive.org/details/lenica_rhinoceros_1965
The link above is to Lenica's cut-out animation 'Rhinoceros' :An
animated version of Ionesco’s tale, a play on the theme of conformity.
And if you haven't seen 'Labyrinth' yet you must watch it.
http://www.youtube.com/watch?v=Zdq38KPMCvY
It's considered his masterpiece and its brilliant. Enjoy!
It was great to meet you all last night. I'm so looking forward to the
coming weeks. Here's a couple of links to some of my favourite
animation. Piotr Dumala is another Polish animator.
http://www.youtube.com/watch?v=bTMMZv-U9yI
Piotr Dumała - Latające.włosy 1984
All his work is very interesting, 'dreamlike' and beautiful. The Kafka
animations are super.
Notes from Wiki:
Piotr Dumała (born 9 July 1956 in Warsaw) is a Polish film director
and animator. His animation technique is original and fascinating,
among the most interesting of the last 30 years. While training to be
a sculptor, he discovered that scratching images into painted plaster
could be a beautiful way to create animations. This is only one
technique of a method called destructive animation, where one image is
erased (in this case, painted over) and re-drawn to create the next
frame in the sequence. William Kentridge is another artist who works
in this destructive way. Dumala's main themes, and the way to show
them, recall ostensibly the world of writer Franz Kafka. His film,
Crime and Punishment, was included in the Animation Show of Shows.
http://archive.org/details/lenica_rhinoceros_1965
The link above is to Lenica's cut-out animation 'Rhinoceros' :An
animated version of Ionesco’s tale, a play on the theme of conformity.
And if you haven't seen 'Labyrinth' yet you must watch it.
http://www.youtube.com/watch?v=Zdq38KPMCvY
It's considered his masterpiece and its brilliant. Enjoy!
Tulta Behm
Apr 19, 2012, 9:07:46 AM4/19/12
to animatec...@googlegroups.com
Hello all, and nice to meet you yesterday.
The animation course reminded me of something coming up at BFI - a screening of The Good Soldier Svejk by Jiri Trnka:
"Jiří Trnka adapts Jaroslav Hašek's raucous satirical novel through puppetry."
I am thinking about going, maybe I'll see some of you there?
All the best,
Tulta (talkative, Scottish - for the purposes of identification).
Harut, Deniz
Apr 20, 2012, 4:20:33 PM4/20/12
to animatec...@googlegroups.com, animatec...@googlegroups.com
dears
I've got tickets to trnka's shorts this Sunday but I'm not in town unfortunately. I can call the BFI and tell them that you will pick it up if anybody's interested.
it's at the BFI on Sunday at 6:30
cheers
Deniz
Sent from my iPhone
Sent from my iPhone
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Standard Chartered PLC is incorporated in England with limited liability under company number 966425 and has its registered office at 1 Aldermanbury Square, London, EC2V 7SB.
Standard Chartered Bank ("SCB") is incorporated in England with limited liability by Royal Charter 1853, under reference ZC18. The Principal Office of SCB is situated in England at 1 Aldermanbury Square, London EC2V 7SB. In the United Kingdom, SCB is authorised and regulated by the Financial Services Authority under FSA register number 114276.
If you are receiving this email from SCB outside the UK, please click http://www.standardchartered.com/global/email_disclaimer.html to refer to the information on other jurisdictions.
Insofar as this communication contains any market commentary, the market commentary has been prepared by a sales and/or trading desk of Standard Chartered Bank or its affiliate. It is not and does not constitute research material, independent research, recommendation or financial advice. Any market commentary is for information purpose only and shall not be relied for any other purpose, and is subject to the relevant disclaimers available at http://wholesalebanking.standardchartered.com/en/utility/Pages/disclaimer_marketcommentary.aspx
Simon Ball
Apr 24, 2012, 7:44:28 PM4/24/12
to Forking Paths, Mirrored Chambers (Spring 2012)
Hi all, below is a link to an exhibition I went to recently...
http://www.tenderpixel.com/max.html
Its animation work by Max Hatler, which I believe was commissioned by
Animate. The show only runs for a few more days and is quite small,
but definitely worth popping into if you're near Charing Cross.
Also, there's some classic abstract animation work from the likes of
Len Lye and Norman Mclaren as part of the Bloomberg Commission at the
Whitechapel Gallery. The films are projected within an installation.
Worth checking out...
See you all tomorrow, good luck with the homework...
On Apr 20, 9:20 pm, "Harut, Deniz" <Deniz.Ha...@sc.com> wrote:
> dears
>
> I've got tickets to trnka's shorts this Sunday but I'm not in town unfortunately. I can call the BFI and tell them that you will pick it up if anybody's interested.
>
> it's at the BFI on Sunday at 6:30
>
> cheers
>
> Deniz
>
> Sent from my iPhone
>
>
> Insofar as this communication contains any market commentary, the market commentary has been prepared by a sales and/or trading desk of Standard Chartered Bank or its affiliate. It is not and does not constitute research material, independent research, recommendation or financial advice. Any market commentary is for information purpose only and shall not be relied for any other purpose, and is subject to the relevant disclaimers available athttp://wholesalebanking.standardchartered.com/en/utility/Pages/discla...
http://www.tenderpixel.com/max.html
Its animation work by Max Hatler, which I believe was commissioned by
Animate. The show only runs for a few more days and is quite small,
but definitely worth popping into if you're near Charing Cross.
Also, there's some classic abstract animation work from the likes of
Len Lye and Norman Mclaren as part of the Bloomberg Commission at the
Whitechapel Gallery. The films are projected within an installation.
Worth checking out...
See you all tomorrow, good luck with the homework...
On Apr 20, 9:20 pm, "Harut, Deniz" <Deniz.Ha...@sc.com> wrote:
> dears
>
> I've got tickets to trnka's shorts this Sunday but I'm not in town unfortunately. I can call the BFI and tell them that you will pick it up if anybody's interested.
>
> it's at the BFI on Sunday at 6:30
>
> cheers
>
> Deniz
>
> Sent from my iPhone
>
> On 19 Apr 2012, at 15:08, "Tulta Behm" <tulta.b...@gmail.com> wrote:
>
> > Hello all, and nice to meet you yesterday.
>
> > The animation course reminded me of something coming up at BFI - a screening of The Good Soldier Svejk by Jiri Trnka:
>
> > "Jiří Trnka adapts Jaroslav Hašek's raucous satirical novel through puppetry."
>
> >http://www.bfi.org.uk/whatson/bfi_southbank/film_programme/april_seas...
>
> > Hello all, and nice to meet you yesterday.
>
> > The animation course reminded me of something coming up at BFI - a screening of The Good Soldier Svejk by Jiri Trnka:
>
> > "Jiří Trnka adapts Jaroslav Hašek's raucous satirical novel through puppetry."
>
>
> > I am thinking about going, maybe I'll see some of you there?
>
> > All the best,
>
> > Tulta (talkative, Scottish - for the purposes of identification).
>
> This email and any attachments are confidential and may also be privileged. Unless otherwise stated, they are for information purposes only and are not intended as an offer or solicitation for the purchase or sale of any financial instrument or as an official confirmation of a transaction. Any views expressed herein are not necessarily those of Standard Chartered PLC, its subsidiaries and affiliates. If you are not the addressee, do not disclose, copy, circulate or in any other way use or rely on the information contained in this email or any attachments. If received in error, notify the sender immediately and delete this email and any attachments from your system. Emails cannot be guaranteed to be secure or error free as the message and any attachments could be intercepted, corrupted, lost, delayed, incomplete or amended. Standard Chartered PLC and its subsidiaries do not accept liability for damage caused by this email or any attachments and may monitor email traffic. By messaging with the sender you consent to the foregoing.
>
> Standard Chartered PLC is incorporated in England with limited liability under company number 966425 and has its registered office at 1 Aldermanbury Square, London, EC2V 7SB.
>
> Standard Chartered Bank ("SCB") is incorporated in England with limited liability by Royal Charter 1853, under reference ZC18. The Principal Office of SCB is situated in England at 1 Aldermanbury Square, London EC2V 7SB. In the United Kingdom, SCB is authorised and regulated by the Financial Services Authority under FSA register number 114276.
>
> If you are receiving this email from SCB outside the UK, please clickhttp://www.standardchartered.com/global/email_disclaimer.htmlto refer to the information on other jurisdictions.
> > I am thinking about going, maybe I'll see some of you there?
>
> > All the best,
>
> > Tulta (talkative, Scottish - for the purposes of identification).
>
> This email and any attachments are confidential and may also be privileged. Unless otherwise stated, they are for information purposes only and are not intended as an offer or solicitation for the purchase or sale of any financial instrument or as an official confirmation of a transaction. Any views expressed herein are not necessarily those of Standard Chartered PLC, its subsidiaries and affiliates. If you are not the addressee, do not disclose, copy, circulate or in any other way use or rely on the information contained in this email or any attachments. If received in error, notify the sender immediately and delete this email and any attachments from your system. Emails cannot be guaranteed to be secure or error free as the message and any attachments could be intercepted, corrupted, lost, delayed, incomplete or amended. Standard Chartered PLC and its subsidiaries do not accept liability for damage caused by this email or any attachments and may monitor email traffic. By messaging with the sender you consent to the foregoing.
>
> Standard Chartered PLC is incorporated in England with limited liability under company number 966425 and has its registered office at 1 Aldermanbury Square, London, EC2V 7SB.
>
> Standard Chartered Bank ("SCB") is incorporated in England with limited liability by Royal Charter 1853, under reference ZC18. The Principal Office of SCB is situated in England at 1 Aldermanbury Square, London EC2V 7SB. In the United Kingdom, SCB is authorised and regulated by the Financial Services Authority under FSA register number 114276.
>
>
> Insofar as this communication contains any market commentary, the market commentary has been prepared by a sales and/or trading desk of Standard Chartered Bank or its affiliate. It is not and does not constitute research material, independent research, recommendation or financial advice. Any market commentary is for information purpose only and shall not be relied for any other purpose, and is subject to the relevant disclaimers available athttp://wholesalebanking.standardchartered.com/en/utility/Pages/discla...
Edwin
Apr 25, 2012, 7:10:09 AM4/25/12
to animatec...@googlegroups.com
Hi everyone
Just to add to what Simon was saying there about the Whitechapel, I noticed they also have a screening of some great early abstract film on Thursday 3 May, 7pm http://www.whitechapelgallery.org/shop/product/category_id/46/product_id/1182?session_id=1335351748d4b468e3161098a5371b98c6c75737ac
Just to add to what Simon was saying there about the Whitechapel, I noticed they also have a screening of some great early abstract film on Thursday 3 May, 7pm http://www.whitechapelgallery.org/shop/product/category_id/46/product_id/1182?session_id=1335351748d4b468e3161098a5371b98c6c75737ac
Also heres a couple of other links, following on from last week's session - A short documentary thing about Martha Colburn who Adam mentioned http://www.youtube.com/watch?feature=player_embedded&v=HtKPPe9L1sU
...and one about Lewis Klahr who Adam also mentioned http://vimeo.com/10551713
See you all this evening,
Simon Ball
May 3, 2012, 8:34:50 AM5/3/12
to Forking Paths, Mirrored Chambers (Spring 2012)
Hi all, below is a link to a lecture by Fred Worden - we watched a
film by him at the end of week two. Haven't been able to find much of
his work online, but this is a great watch. He is a great speaker and
touches on many of the subjects that have come up during the course so
far...
http://www.youtube.com/watch?v=zf7t6c6rE-0
I particularly like what he said about motion - that we actually
interpret motion in the same way that we might interpret colours or
shapes or sounds. I thought this had interesting implications for
animators who play with motion (or time?). What new meanings can be
created when motion/time is de-constructed?
Er... discuss!?
ps - will be at the Whitechapel this evening for animation and jazz,
maybe see some of you there...
On Apr 25, 12:10 pm, Edwin <edwinrost...@gmail.com> wrote:
> Hi everyone
>
> Just to add to what Simon was saying there about the Whitechapel, I noticed
> they also have a screening of some great early abstract film on Thursday 3
> May,
> 7pmhttp://www.whitechapelgallery.org/shop/product/category_id/46/product...
film by him at the end of week two. Haven't been able to find much of
his work online, but this is a great watch. He is a great speaker and
touches on many of the subjects that have come up during the course so
far...
http://www.youtube.com/watch?v=zf7t6c6rE-0
I particularly like what he said about motion - that we actually
interpret motion in the same way that we might interpret colours or
shapes or sounds. I thought this had interesting implications for
animators who play with motion (or time?). What new meanings can be
created when motion/time is de-constructed?
Er... discuss!?
ps - will be at the Whitechapel this evening for animation and jazz,
maybe see some of you there...
On Apr 25, 12:10 pm, Edwin <edwinrost...@gmail.com> wrote:
> Hi everyone
>
> Just to add to what Simon was saying there about the Whitechapel, I noticed
> they also have a screening of some great early abstract film on Thursday 3
> May,
>
> Also heres a couple of other links, following on from last week's session -
> A short documentary thing about Martha Colburn who Adam
> mentionedhttp://www.youtube.com/watch?feature=player_embedded&v=HtKPPe9L1sU
> Also heres a couple of other links, following on from last week's session -
> A short documentary thing about Martha Colburn who Adam
>
> ...and one about Lewis Klahr who Adam also
> mentionedhttp://vimeo.com/10551713
> ...and one about Lewis Klahr who Adam also
>
> See you all this evening,
>
> Edwin
>
> http://www.whitechapelgallery.org/shop/product/category_id/46/product...
> See you all this evening,
>
> Edwin
>
Rita
May 7, 2012, 6:00:03 PM5/7/12
to Forking Paths, Mirrored Chambers (Spring 2012)
Thank you Simon for posting this lecture, I really enjoyed it. I like
the stuttering edits in Fred Worden's films, (well the films that I
could see from this lecture you posted and one called Solaris) and the
transformations his footage goes through. This stuttering, forwards,
backwards, gaps etc being about making an awareness that you're
'seeing' - because the conscious part of the brain tells us rationally
that this is seeing and the more ancient part of our brain sees the
illusion, that what it's seeing is making up for the gaps, and the two
don't communicate this, that we just keeps on seeing that illusion
anyhow!
I'm left confused about if he works on 16mm and if this is
particularly important to him?
Adam you mentioned something about 'hybrids' in relation to the Fred
Worden film that you played, was that to do with the abstract forms?
We were quite near the end of that session so we had to finish up, but
I'd like to know what you were going to say...
Rita
the stuttering edits in Fred Worden's films, (well the films that I
could see from this lecture you posted and one called Solaris) and the
transformations his footage goes through. This stuttering, forwards,
backwards, gaps etc being about making an awareness that you're
'seeing' - because the conscious part of the brain tells us rationally
that this is seeing and the more ancient part of our brain sees the
illusion, that what it's seeing is making up for the gaps, and the two
don't communicate this, that we just keeps on seeing that illusion
anyhow!
I'm left confused about if he works on 16mm and if this is
particularly important to him?
Adam you mentioned something about 'hybrids' in relation to the Fred
Worden film that you played, was that to do with the abstract forms?
We were quite near the end of that session so we had to finish up, but
I'd like to know what you were going to say...
Rita
Adam Pugh
May 8, 2012, 2:23:53 PM5/8/12
to animatec...@googlegroups.com
Hi Rita, and all,
FW used to work on 16mm. He swapped to an entirely digital workflow in the early 2000s I think. I seem to remember that 'The Or Cloud' was his last 16 work. I haven't seen the video that Simon sent, but sounds good.
I can't recall what I could have been on about at the end of the session.. Will have a think and see if it comes back to me. Ideally by tomorrow!
See you tomorrow,
Adam
Sent from my phone
FW used to work on 16mm. He swapped to an entirely digital workflow in the early 2000s I think. I seem to remember that 'The Or Cloud' was his last 16 work. I haven't seen the video that Simon sent, but sounds good.
I can't recall what I could have been on about at the end of the session.. Will have a think and see if it comes back to me. Ideally by tomorrow!
See you tomorrow,
Adam
Sent from my phone
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