Lilly Husbands wrote up a review of this conference here with lots of information about what was discussed: https://www.fantasy-animation.org/current-posts/2019/2/28/review-experimental-amp-expanded-animation
Call for papers: Experimental & Expanded Animation: Current Perspectives & New Directions
Proposals are invited for an interdisciplinary one-day conference with an evening reception, screening and exhibition.
At the University for the Creative Arts, Farnham, Surrey, UK.
Conference date: February 13th, 2019.
With their recent volume: Experimental and Expanded Animation: Current Perspectives & New Directions, Hamlyn and Smith aimed to reach further into understandings of what experimental animation is, and has been, since Robert Russett and Cecile Starr defined it in 1976. This conference aims to further focus our project and to develop findings from the publication through more immediate methods of open dialogue and/or film practice. The prompts listed below have been condensed from themes emerging in the volume. However we welcome proposals that respond to these areas and also those that pursue other lines of enquiry. A range of disciplinary approaches is encouraged and the conference aims to include papers from practitioners, practitioner/scholars and scholars. As well as traditional 20 min papers we encourage alternative methods for sharing ideas and materials through, for example, performed presentations, artistic works, mini-workshops and lightning talks.
Transparency of process and use of materials has been central to experimental/ materialist film practice and theory. To what extent has the homogenization of media today prompted a rise in more recent craft theory? How do Marxist materialist theories relate to post-human and new materialist discourse and in which ways do these more recent methodologies impact upon our understandings of experimental expanded animation?
Feminism/women in experimental animation
It’s understood that the privacy of animation production conditions facilitates exploration into issues relating to feminism. Female animators today are translating concerns, such as the domestic, sexuality and the body, into large scale, expanded and performed animation. Does such work, installed in spaces beyond the gallery/cinema, and in which the female animator is visible on stage, impact upon expression of the female experience, or has this become less crucial to articulate, and how does feminist theory offer insights into this area?
Critically reworked commercial animation is occurring today within the purview of experimental film. Outwardly appearing as traditional cartoons, how does this material sit within a field that has tended to emphasise the auteur and has avoided the graphic, the narrative and the popular?
Increasingly we see interdisciplinary approaches employed to analyse animation, including for example post-humanist scholarship; aesthetics; phenomenology; feminism and critical theory. To what extent do these methods cast light on animated texts, or do they detract from fundamental questions concerning form and the medium?
Media including photography, dance, and performance for example have been central to animation since vaudeville, and then through the expanded cinema of the 60s. How is experimental animation advanced through media ‘impurity’, and to what extent are theories such as inter-mediality, which suggests that individual qualities of distinct media are enhanced through their interlocking, of value?
Animation that is articulated beyond the single screen could be said to emphasise a perceptual and phenomenological engagement. Flicker for example, is located in the physiology of the viewer, while animated installation demands a mobile spectator. Both modes of spectatorship are contingent and situated in the present of their apprehension. How is animation in the expanded field continuing to elicit new modes of spectatorship?
3D-CG and internet animation has the capacity to invent and manipulate the extant world in myriad ways. How is CG being used in the context of experimental expanded animated film?
Gene Youngblood hailed expanded cinema as reflecting a utopian expansion of both consciousness and technology. Today much experimental expanded animation, made through contracted means of found or old materials, can be regarded as a response to resources made scarce through either forced obsolescence, unsustainable practice and/or as a creative resistance to media acceleration. How does the trend toward a careful ecology of materials impact on experimental animation languages?
Please submit an abstract (up to 500 words), 3–5 bibliographical sources, 3-5 keywords as well as a short bio by 15th of November 2018 to:
with the subject heading: ‘Experimental Animation Conference’. The selected abstracts for the conference will be announced by late November 2018.
Announcing a new book – Experimental and Expanded Animation: New Practices and Perspectives edited by Nicky Hamlyn and Vicky Smith for Palgrave Macmillan, for which I have written Chapter 13. Siting Animation: The Affect of Place.
My chapter is concerned with the experience of watching animation that has been created as a spatial experience for viewing in a particular location. Conventionally, animation is viewed from a fixed seat in a stationary position that the viewer stays in for the duration of the viewing experience without significant change in her angle of view of the images on the screen before her and, indeed, animation scholarship frequently refers to the single-screen animated film. This chapter considers non-narrative animation that has been created to be part of an expanded or site-specific experience in which the viewer must visit a particular location and walk around to experience the work. How does the viewing experience of animation differ if the work is installed in three-dimensional space as part of an art exhibition, museum display or visitor attraction rather than from a fixed seating position? Through reference to examples of works by artists Rose Bond, Birgitta Hosea, Pedro Serrazina and Xue Yuwen in which contemporary animations are displayed as an intervention in historic spaces, the affect of site and the impact of the communal viewing context on the embodied perception of an animation are investigated.
For more information about the book: https://www.palgrave.com/gb/book/9783319738727
The Crafty Animator: A Conference on Handmade and Craft-based Animation
Proposals are invited for an interdisciplinary one-day conference at Rich Mix Cinema, Shoreditch, London, on Thursday 7th September 2017
Animation is famously diverse, incorporating as it does a range of production methods, techniques and practices. This one-day conference focuses on any technique that could be considered to be handmade or craft-based, from cut outs to models and puppets, from sand-on-glass to ink-on-glass, and beyond. The role of the animator is key to such techniques where we can often see her/his imprints or finger marks etc. or even hands in the animation; the ‘presence of the artist’ is often highly visible in such craft-based practices and is a presence this conference seeks to explore from numerous perspectives. The conference aims to consider: the kinds of animation techniques that might fall into the category of the handmade; the ways that handmade and craft-based animation might be framed as gendered practices, or not; the kinds of cultural value that handmade and craft-based might animation carry. A range of disciplinary approaches is encouraged and the conference aims to include papers from practitioners, practitioner/scholars and scholars.
I am delighted to confirm Dr Birgitta Hosea, Head of Animation at the RCA, as our Keynote Speaker.
Possible approaches include but are not limited to:
- Historical examples of handmade animation`
- Contemporary practices
- Gender politics and production practices
- Audience engagement
- Spectacle and visual effects
- Space and place
- Production cultures
- Narrative and storytelling
- Children’s television animation
- Digitising the handmade
- The cultural value of craft-based/handmade animation
- Craft-based practices and the community
- The ‘presence of the artist’
- Craft-based/handmade animation and advertising
The conference will be held at the Rich Mix Cinema in Shoreditch, London on Thursday 7 September 2017. Please send abstracts of 300 words plus 100-word bio by Friday 23 June 2017 to:
Dr Caroline Ruddell (firstname.lastname@example.org)
Dr Caroline Ruddell
Lecturer in Film and TV Studies
Department of Social Sciences, Media and Communications
College of Business, Arts and Social Sciences
Brunel University London
Associate Editor Animation: An Interdisciplinary Journal
animation: an Interdisciplinary journal is the first cohesive international refereed publishing platform for animation that unites contributions from a wide range of research agendas and creative practice.
International Experimental Animation Exhibition and Forum, Sichuan Fine Arts Institute Chongqing, China, 18th Oct – 1st Nov 2106
This series of events sought to question the ontology of animation with a series of speakers and artists showing work that troubled at the edges of animation as a practice.
Day 1. Forum Opening. Presentations:
Welcome speeches by Jie Zhang , Vice-president of Sichuan Fine Arts Institute, Chuan Li , Director of the New Media Department and Tingting Lu, director of the Forum.
Tianran Duan “The Principle Concept of Animation” drew parallels between the post-modern collapse of meaning in philosophy and our current understanding of animation.
Gerben Schermer “Holland Animation Film Festival on the Cutting Edge”talked about the curatorial policy of the festival and showed the film Recycled by Lei Lei and Thomas Sauvin
Jian Liu reflected on experimental practice in animation and warned against over theorising practice.
Birgitta Hosea “Involuntary Animation” explored involuntary mark-making and chance procedures in animation with reference to Iimura Takahiko’s Circle and Square (1982), John Cage’s Music of Changes (1951), Vicky Smith’s 33 Frames Per Feet (2013) and Noisy, Licking, Dribbling and Spitting (2014) and finally her own work Time Channel (2014).
Xi Chen “Time and Poetry in Animation”
Yuxiao Yi “Rational Technique and Image Ethic” discussed post-disciplinary, post-hums work and the extension of sensation
Yves Nougzarede talked about “Annecy and Experimental Animation” with examples of films by Paul Bush and Susan Young and thoughts about the curatorial policy behind the experimental category
Lei Lei “Tidy Up Old Things and Image of Animation” presented some his latest works in which he uses re-animation techniques to interrogate archival collections of photographs
Sheila Sofia “Animated Documentary”discussed creative challenges in using animation for documentary purposes and considers whether animation might be more truthful or perhaps more manipulative than live action.
Tingting Lu’s closing speech argued for a dematerialisation of the concepts behind animation, for animation as an adjective or adverb instead of a verb or a noun, for anti-animation, for post-animation.
Sheila Sofia presents her latest film, Truth Has Fallen, and the context behind it
Birgitta Hosea presents an overview of her work in animation and performance
Organiser Tingting Lu, her assistant Juncheng Li, Birgitta Hosea and Sheila Sofian
Exhibition Opening in the New Media Art Centre
Featuring work by artists including: Birgitta Hosea.
Lots of lovely food was eaten, particularly the local hot pot!
Meeting up with former students Dandan Wang and Lai Wei, Sheila Sofia and translator Bao Li
Birgitta Hosea also ran a workshop on Emotional and Physical Mark-making, which used techniques from contemporary dance and method acting to challenge students’ habitual drawing methods