This article highlights a neglected, if not wholly overlooked, topic in phenomenology, a topic central to Husserl’s writings on animate organism, namely, animation. Though Husserl did not explore animation to the fullest in his descriptions of animate organism, his texts are integral to the task of fathoming animation. The article’s introduction focuses on seminal aspects of animate organisms found within several such texts and elaborates their significance for a phenomenological understanding of animation. The article furthermore highlights (...) Husserl’s pointed recognition of “the problem of movement,” movement being an essential dimension of animation if not definitive of animation itself. Succeeding sections testify to “the problem of movement” and the need to address it. They do so by answering the following basic questions: What indeed is livingly present in the experience of movement, whether our own movement and the movement of other animate beings, or the movement of leaves, clouds, and so on? What distinguishes kinesthetic from kinetic experiences of movement? How are movement and time related? Just what is the problem of movement and how do we address it? In what way is movement pertinent to receptivity and responsivity? Throughout these sections the article encompasses phenomenological analyses, elaborations, and implications of animation. (shrink)

Animation victims: an abridged history of animated response -- Animated history -- The movement of accessories -- Fabric extensions and textual supplements from modern and antique fragments -- The movement of snakes -- Pneumatic impulses and bygone appendages from Philo to Warburg -- The afterlife of crystals -- Art historical biology and the animation of the inorganic -- Inorganic culture -- Nudes in the forest -- Models, sciences, and legends in a landscape by Léger -- Malicious houses -- (...) Animism and animosity in German architecture and film from Mies to Murnau -- Daphne's legacy -- Architecture, psychoanalysis, and petrification. (shrink)

Going beyond the creolisation theories of Brathwaite and Glissant, I attempt to develop ideas concerning the gendering of creolisation, and a historicising of affects within it. Addressing affects as ‘physiological things’ contextualised in the history of the Caribbean slave plantation, I seek, importantly, to delineate a trajectory and development of a specific Creole history in relation to affects. Brathwaite's proposition that ‘the most significant (and lasting) inter-cultural creolisation took place’ within the ‘intimate’ space of ‘sexual relations’ is key to my (...) argument. In the light of this, I consider how Creole cultural knowledge about affect—as the primary motivational system inclusive of fear, anger, outrage and so on — might be identified, and what constitutes such Creole knowledge within which affect might be embedded. How might Glissant's relationality and Creole literary texts add to this knowledge? I focus primarily on three texts: Clarke's The Polished Hoe, Collins’ The Colour of Forgetting and Morejón's ‘Amo a mi amo’/‘l Love My Master’. Each text on which I draw is selected for its intersectional representation of gender relations, ‘knowledge about sexual difference’ and its representation of Creole subjectivities within the context problematised here as the ‘demonic ground’. Moreover, as auto-theorising texts, they represent both narrative and meta-narrative of a creolising of affects in and against the economy of the slave plantation. Each represents also a stage or aspect of the development of subjectivities and an affective community that inform this intervention concerned with theorising against consolidated, universalising and Eurocentric conceptualisations of affect. In the process, I attempt to offer a differentiated cartography and literary archaeology of affect. (shrink)

Resumo: A filosofia é um sistema que analisa as crenças, os conceitos mais básicos e a calma de temperamento e julgamento próprios de um filósofo. Os filmes de animação chineses fizeram grandes incursões nos mercados mundiais, nos últimos anos, apesar do fato de o setor de animação da China ser apenas um adolescente em comparação com o seu homólogo de décadas, na filosofia japonesa. Embora alguns estúdios de animação criem conteúdos especificamente para o público internacional, a indústria de animação chinesa (...) está principalmente preocupada com o mercado interno, porque acredita que a animação chinesa de alta qualidade tem potencial para se expandir. Artistas, filósofos e aqueles que trabalham nas indústrias criativas diretamente ligadas a isto têm um incentivo e um desafio para descobrir as histórias que podem ter sucesso nos mercados chinês e internacional. Neste artigo, analisam-se e se contrastam as características das filosofias de animação cinematográfica chinesas. Examinam-se tanto o contexto social quanto o cultural, o desenvolvimento econômico do mercado e o avanço tecnológico que moldaram o design filosófico da animação chinesa. As abordagens filosóficas avaliadas neste estudo são Donghua e Manhua, além da filosofia taoísta, exemplificada em Zhuangzi. (shrink)

Written as the introduction to a special issue of Body & Society on the topic of animation and automation, this article considers the interrelation of those two terms through readings of relevant work in film studies and science and technology studies (STS), inflected through recent scholarship on the body. Drawing upon historical and contemporary examples, we trace how movement is taken as a sign of life, while living bodies are translated through the mechanisms of artifice. Whereas film studies has (...) drawn upon work ranging from production history to semiotics and psychoanalysis to conceptualize the ways in which the appearance of life on the cinema screen materializes subjectivities beyond it, STS has developed a corpus of theoretical and empirical scholarship that works to refigure material-semiotic entanglements of subjects and objects. In approaching animation and automation through insights developed within these two fields we hope to bring them into closer dialogue with each other and with studies of the body, given the convergence of their shared concerns with affective materializations of life. More specifically, an interest in the moving capacities of animation, and in what gets rendered invisible in discourses of automation, is central to debates regarding the interdependencies of bodies and machines. Animation is always in the end a relational effect, it seems, while automation implies the continuing presence of hidden labour and care. (shrink)

Animation is widely acknowledged for dynamically visualizing information and has been increasingly used in educational context. However, the growing presence of educational animation has not been accompanied by well-informed studies that focus on the semiotic features of animation. An emerging perspective influenced by Social Semiotics and Systemic Functional Linguistics greatly complements the current trend of animation studies in the field of science education. Studies taking that perspective model animation as stratified systems (consisting of an expression (...) plane and a content plane) of meaning-making options. Building on their work, this paper further develops the systems of animation on the two planes. Besides the concept of stratification, this paper also introduces a metafunctional perspective for the modeling of animation, focusing on building the ideational meaning system and textual meaning system for animation on the content plane based on an examination of online science animations. It is found that educational animation is not homogenous: animation can construe different human experience and can be used to fulfill different functions. The paper closes with a discussion of the advantages of adopting a stratified metafunctional model in studying animation and the implications for future studies in the field of multimodal semiotics and science education. (shrink)

One of the most difficult contemporary issues facing the bioethics of clinical research is balancing the maintaining of a universality of ethics standards with a sensitivity to cultural issues and differences. The concept of “vulnerability” for research subjects is especially apt for investigating the ethical and cultural issues surrounding the conduct of genetic research among new immigrants to the United States, using the Sudanese Nuer and Dinka tribes, recently settled in the Midwest, as an example. Issues of cultural vulnerability arise (...) for some immigrants, related to relationship to the earth and to kinship issues, that threaten the narrative richness of a subject's life as well as the way she situates herself in the world. (shrink)

The original publication can be found at www.springerlink.com.

I begin by asking what it is for a moving image to be animated, and thus, what it is for something to be an instance of animated cinema. I next distinguish different kinds of cinematic animation, and explore why, traditionally, so little philosophical attention has been paid to animated cinema per se, and why recent developments in cinematic technology have begun to remedy this deficiency. I comment here on the exchange between Stanley Cavell and Alexander Sesonske over the status (...) of animated movies. I then examine certain epistemological dimensions of animated cinema, and look at the conditions under which animated cinema can be art. I conclude by reflecting on the significance of the use of digital technology in the production of animated cinema. (shrink)

This essay deals with Girolamo Fracastoro’s ensouled cosmology. His Homocentrica sive de stellis (1538), an astronomy of concentric spheres, was discussed by the Padua School of Aristotelians. Since the polemics over the immortality of the human soul, which had famously opposed Pomponazzi to Nifo, psychological discussions—including those about heavenly spheres’ souls—raised heated controversies. Fracastoro discussed the foundations of his homocentric planetary theory in a dialogue titled Fracastorius, sive de anima (1555). In a 1531 exchange with Gasparo Contarini, Fracastoro discussed celestial (...) physics, including problems linked to mathematical analysis of physical causation. Contarini expressed his doubts over Fracastoro’s lack of consideration of Aristotelian viewpoints on heavenly souls and intelligences. Fracastoro offered an account of cosmic animation in his later dialogue “On the Soul,” taking a different path than his Paduan teachers. He picked up the Platonic idea of the “world soul,” freely connecting it with Aristotelian views about the ensouled cosmos of concentric spheres, resulting in an eclectic composition of Platonic, Aristotelian, and Averroistic elements. Fracastoro grounded his renewed mathematical astronomy on an understanding of the cosmos as a living whole. His animated homocentric cosmos represented a development of Aristotelian premises and a step beyond this legacy. (shrink)

One of the most striking features of Giordano Bruno’s philosophy is the marriage of universal animation with atomism. This unusual combination produced an extraordinary image of the universe, which was governed by the World-Soul and its universal intellect along with an infinite number of living atoms or corpuscles, animated by their internal spiritual principle. After examining Bruno’s principal arguments on the World-Soul, universal animation and living atoms or corpuscles, this article explores two possible sources among the works of (...) his near-contemporaries. The first author, Agostino Steuco, tried to reconcile the doctrine of the World-Soul with Christianity, integrating the idea of Anaxagoras on the cosmic mind as the demiurgic agent of the universe. The second figure, Jacob Schegk, further elaborated his unusual atomistic or corpuscular reinterpretation of this Presocratic philosopher’s ideas. (shrink)

This study created a motion graphic animation about the danger of snakes within a story telling structure, which is different from a traditional science animation that relies on explanatory language to explain the scientific concept. The effects of the two types of animations on children’s attentional perception on snakes were compared by an inattentional blindness task. Three groups of children undertook the IB task with one control group who did not watch the animation and the other two (...) groups who watched the MG and the traditional styled animation, respectively in advance. The results showed that: Children who watched the animation were significantly more likely to detect the unexpected snake images in the IB task than those who did not watch the animation; Children who watched the MG animation showed a higher detection rate on the snake images than those who watched the traditional animation. The findings indicate that the intervention of animation would increase children’s attentional perception on the key concepts significantly. The MG animation has more impact than the traditional animation on children’s attentional perception on the key information. This study demonstrates that MG animation may have a significant value in promoting science education for young children that merits further explorations in depth. (shrink)

Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben. Insbesondere in einer Auseinandersetzung mit Eisensteins Poetik des 〉Plasmatischen〈 wird die experimentelle Übertragung einer lebenswissenschaftlichen Metapher in eine Ästhetik des Films diskutiert, die von der Animation ausgeht. The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central (...) topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation. (shrink)

Creativity is so important for social and technological development that people are eager to find an easy way to enhance it. Previous studies have shown that mindfulness has significant effects on positive affect, working memory capacity, cognitive flexibility and many other aspects, which are the key to promoting creativity. However, there are few studies on the relationship between mindfulness and creativity. The mechanism between mindfulness and creativity is still uncertain. Meditation is an important method of mindfulness training, but for most (...) people who do not have the basic training, it’s difficult to master how to get into a state of mindfulness. Animation has been shown by many studies to help improve cognition and is often used as a guiding tool. Using animation as the guiding carrier of meditation is more convenient and easier to accept. Therefore, this study adopted the intervention method of animation-guided meditation, aiming to explore: the effect of animation-guided meditation on enhancing creativity; the role of flow and emotion in the influence of mindfulness on creativity. We advertised recruitment through the internal network of a creative industrial park, and the final 95 eligible participants were divided into two groups: animation and audio guided meditation. The animation group was given an animated meditation intervention, and the audio group was given an audio meditation intervention, both interventions were performed 3 times a week and last for 8 weeks. Results: Animation-guided meditation significantly increased participants’ mindfulness and creativity levels; Significantly reduced their cognitive load compared to audio-guided meditation. Mindfulness has a significant direct effect on creativity, and significant indirect effects on creativity; Flow and PA act as the mediating variable. Conclusion: Mindfulness, flow, and PA all helped to improve the subjects’ work creativity. In addition to the direct positive impact of mindfulness on creativity, mindfulness can also have an indirect positive impact on creativity through flow and PA. Compared with audio, animation can significantly reduce cognitive load and help improve users’ cognitive ability, which is more suitable for the guidance materials of mindfulness meditation to enhance the effect of meditation. (shrink)

Open peer commentary on the article “Elementary Students’ Construction of Geometric Transformation Reasoning in a Dynamic Animation Environment” by Alan Maloney. Upshot: Parnorkou and Maloney describe how a dynamic animation environment, Graphs ’n Glyphs, supported fourth-grade students’ understandings of translations and rotations. Two elements were critical in their teaching experiment: the design of the software and tasks. This commentary focuses on the decisions that they made and possible implications they had for students’ reasoning.

In this article, I link Lisa Feldman Barrett's theory of constructed emotion1 to decolonial perspectives that also challenge this universality of affect in cross-cultural facial expressions. After first outlining some of the present-day political stakes of these questions, I turn to Sylvia Wynter on the "ethnoclass of Man" in Western modernity, where she asks: how were concepts of not only being, truth, power, and freedom but also affect—the intelligibility of one's feelings toward others—framed by histories of colonial violence and refusals (...) of imaginative identification?2 Wynter argues that the overrepresentation of the Western ethnoclass results in the naturalization of a limited and contingent mode of being as... (shrink)

This article, drawing on selected feminist magazines of the 1980s, particularly Feminist Arts News (FAN) and GEN, offers a textual ‘braiding’ of narratives to re-present a history of Black British feminism. I attempt to chart a history of Black British feminist inheritance while proposing the politics of (other)mothering as a politics of potential, pluralistic and democratic community building, where Black thought and everyday living carry a primary and participant role. The personal—mothering our children—is the political, affording a nurturing of alterity (...) through a politics of care that is fundamentally antiracist and antisexist. I attempt to show how Black feminist thought can significantly contribute to democracy in the present and how Black British history and thought, as fundamentally antiracist and anticolonial, can generate a reinvention much needed in the present of a shared British history. I argue for feminist intervention premised upon a politics of care, addressing through activist mothering the urgency of Black absence from prestigious institutions. Such debilitating absence in Britain inhibits the development of scholarship, distorts feminist history and seriously concerns potential Black feminists. From diverse texts, I develop a genealogical narrative supplemented through memory work. This ‘gathering and re-using’ privileges Black women's theorising as a crucial component of the methodological metissage, which includes auto-theorising to develop ideas of resemblance in relation to Black British feminism and feminist kinship. The resultant ‘braiding’, I suggest after Lionnet, questions the absence of intersubjective spaces for reflection on Black British feminist praxis, indicating a direction for British feminists of all complexions. Attentive to the 1980s as historical context while invoking the maternal, I consider what is required to engage generationally, counterwrite the academy and pursue a dynamic process of transformation within a transnational feminism that challenges Black British absence from academic knowledge production, while nurturing its presence. (shrink)

This article explores a distinctive representational strategy used in stop-motion animation: the object substitution. Using as its central example a children’s TV episode in which brushes stand in for dogs, it explains how this strategy produces a complex relationship between depiction and representation. The analysis highlights the pragmatic underpinnings of various theories of pictorial and cinematic representation, arguing that, in a substitution, depicted elements constitute explicatures and represented ones implicatures. Connecting this strategy to humans’ capacity for pareidolia (seeing things (...) in other things), it contends that an object substitution achieves its effects—and reconciles its marked incongruities—by prompting viewers to pleasurably reverse-engineer the far-fetched projective imagining that motivated its use. This process, which is a form of conceptual blending, is based on relations that are neither straightforwardly iconic nor purely arbitrary. (shrink)

Do poems speak to you? Consider poems in which you encounter the signature version of excited Romantic poetic address that begins with a single letter adorned with its own exclamation mark: “O!” Don’t you imagine that someone is saying (or shouting or whispering or gasping) “O!”? Does it matter that you don’t know who that person might be? Don’t you feel moved to respond, if only silently? Don’t you want to imagine that overseeing or overhearing that address brings you into (...) its range, thus making you feel as if you were joining a collective of such responsive silences? Nineteenth-century American poets often hoped you would feel this way, and most modern versions of poetics still do. But many Black poets in the US in the nineteenth century came to recognize that the lyricizing ambition of the apostrophic address that would come to be identified with Romantic and modern lyric threatened to make lyric poetry’s addressees universally White. Black Romantic poets repeatedly expressed anxieties about apostrophe’s racialized ambitions, though the history and theory of American poetics have both been premised on an ignorance of that expression. (shrink)

Theories of networked individualism and forms of urban alienation challenge the continued purpose and relevance of conventional community tools in urban neighbourhood. However, the majority of urban residents surveyed in this research still believe that there are people living in their immediate neighbourhood who may share their interests or who are at least personally compatible, but they do not know them. Web-based community networking systems have the potential to facilitate intra-neighbourhood interaction and support community-building efforts. Community networking studies have shown (...) that technical connectivity alone does not ensure community and that new and weak communities do not benefit from community networking systems as much as existing and strong communities do. This paper builds on these findings to present a methodology combining principles of participation, animation and design. This approach builds on intrinsic motivation in residents to find out about and meet one another in a private and inobtrusive way. It encourages residents to take social ownership of the community-building process and the community network. The approach recognises the network qualities in the communicative ecology of urban residents and supplements collective approaches towards community-building with personalised networking strategies. (shrink)

This paper comprises two aspects; In the first part the unique character of the miracle of the resurrection of Lazarus is outlined, especially from the perspective of patristic exegesis. In the second part patristic exegesis, together with grammatical and semantic analysis, is taken as basis of argumentation — against an example of modern exegesis — as to how modern man should define and interpret this event in the life of Jesus.

In the evolving field of advanced biopreservation technologies, the development of suspended animation (SA) is inspired by real-world challenges. In the context of space exploration, SA is seen as a solution to enable humans to undertake missions far beyond low Earth orbit, including routine travel to other planets in our solar system and beyond. While work on the socio-ethical and legal implications (ELSI) of space exploration continues to evolve, NASA has committed to make ethics a priority issue, making this (...) a fruitful field for further examination. (shrink)

In recent years, the animation industry has achieved unprecedented development trends, and many excellent animation works have emerged in China, which are popular with audiences. Among all kinds of animation works, the most important feature is the integration of traditional Chinese philosophical and cultural elements, which leads to the difference between Chinese animation works and other countries. It not only conforms to the aesthetic standards of Chinese people, but also gives play to the traditional Chinese culture, (...) providing a direction for further promoting the inheritance and development of outstanding traditions. With the rise of mobile intelligent terminals, the vigorous development of the Internet era, and the rising demand of people for the existing market, traditional philosophy and culture, as a new business opportunity, has great development prospects in this era. The fashion transformation of traditional philosophy and culture in the animation art is about to attract more attention from capital and entrepreneurs. In animation art design, the most important core concept is artistic creativity. Due to China's lack of originality in animation design for a long time, this paper attempts to revive China's animation art design by applying traditional innovative ideas in the fashion transformation of animation art design schemes. This new artistic expression method is aimed at better expressing the theme of animation activities, maximizing the value of animation works and promoting the development of animation industry. Through the transformation and innovation of traditional philosophy and culture and animation art customization, this paper explores the transformation and innovation of traditional philosophy and culture and animation art customization in order to provide some reference for the development of animation industry. (shrink)

The article presents an analysis and interpretation of the features of two animated works of French animation created at the turn of the XX-XXI centuries. "Kirikou and the Sorceress", a cartoon released in 1998, is one of the most interesting works of the famous French animated film director Michel Oselo. The "Trio from Belleville", a work that appeared on screens in 2003, gained popularity not only in France, but also glorified the name of its creator Sylvain Chaume in the (...) world of animation. The aim of the study is to develop theoretical knowledge about the world's oldest animation school by analyzing these works as the most representative in French animated cinema at the turn of the XX-XXI centuries. The methodology of the research is based primarily on the use of formal stylistic, iconological and cultural-historical methods, which makes it possible to describe and analyze the artistic forms of works of artistic animation in France, to determine the meanings contained in them in the context of the culture that gave rise to them. The novelty of the research is primarily connected with the introduction into the circulation of Russian science of previously unexplored works of modern French animation and their interpretation in the context of the development of French animated cinema. The author analyzes the plot features, character systems, reveals the metaphors and meanings that fill the cartoons in question, as well as the means of artistic expression used by French directors. The analysis of these works shows that the animated works of the turn of the XX-XXI centuries reflect a significant stage in the development of modern French animated cinema. This development takes place not by referring to foreign experience, but by forming national specifics in the creation of animated works. French directors manage to successfully improve their own original handwriting, while transferring the meanings and values of national culture to the screen. (shrink)