![]() For this and paraphrasing the concept that once inspired talking of Expanded Cinema, we propose Expanded Animation, referring to all animation that exceeds the precepts of what is commonly known as animation. Animation, in turn, could incorporate computer cultural forms and techniques. In this expansion, the use of these specific knowledge of animation in the media art unveiled an exciting new landscape: a discipline always dependent on its technical artifact, which achieves to be involved in the convergence of art and technology providing specific concepts and issues. The ways of doing animation changed and new ones emerged. So animation resignified their role in this new audiovisual universe, using digital technology. Obviously, this is a product of social needs, economic determinants, ideological constraints and technological possibilities: the change that the introduction of digital technologies meant at all levels. Today we have to resize a set of knowledge and processes that in the XXth century was mostly centered on a specific type of production, which currently involves almost all moving images produced. This new theory, reflects on the fact of animate expansion, since it occupies a privileged place within contemporary visual production. In recent years all this has changed, because it also changed the dimension of what we understand as animation. With few exceptions, there was no animation theory film theory did not included it in their case studies, relegating animation to a totally irrelevant plane. During most of the XXth century, while animation only told its story, classified artists and at most described their techniques, the film built one of the most brilliant intellectuals corpus of art history. This research provides a strong basis for the necessity of a paradigm revision for how acting is produced within a PeCap context. This type of first-person experience-based insight is often missing from purely theoretical discussions about acting in performance capture and animation, and helps to provide a clearer understanding of the contributions of each creative role to the final PeCap result. Additionally, this thesis engages with phenomenology and auto-ethnography to explore acting in performance capture from the perspective of a single individual as the actor, PeCap artist, and animator. This thesis is interdisciplinary and sits at the intersection between theories of acting,Īnimation, film, and psychology. What is the role of the animator in interpreting an actor’s performance data and how does this affect our understanding of the authorship of a given performance?.What is the potential for a knowledge of acting to have on the practice of animating, and for a knowledge of animation to have on the practice of acting?.What is the nature of acting within the contexts of animation and performance capture?.While exploring the intersections between acting and animation, a central question emerges: what does acting become when the product of acting starts as data and finishes as computer-generated images that preserve the source-actor’s “original” performance to varying degrees? This primary question is interrogated through a practice-led inquiry in the form of 3D animation experiments that seek to clarify the following sub-questions: This research deepens our understanding, as animators, actors, audiences, and academics, of how we see the practice of acting in performance capture (PeCap). For how do we perceive an animated character? Is a cartoon character performing or performed through? Through an examination of the site of performance in animation, notions of the animator as an actor and animation as a performative practice are considered. Through artworks that seek to problematise binary oppositions between that which is ʻliveʼ as opposed to that which is ʻanimatedʼ. Practice-based research is presented in the form of ʻpost-animationʼ - work that uses the tools of animation, but does not take the form of an animated film, rather de-constructs conventional notions of animation. Commencing with a literary review of ontological debates about the nature of animation, which have resulted from a period of re-definition in the practice of animation brought about by technological change in conjunction with a cultural desire for the legitimation of animation as an art form, this paper argues against reductive definition and proposes to examine animation in terms of performance. This paper will present research that seeks to question traditional understandings of animation.
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