La paradoja del tiempo en animación. Si lo inanimado también experimenta el tiempo real, ¿por qué parece vivo por un momento?
[EN] Animation is by nature a time based medium. It is a dissection of time, a fragmentary exploration and journey of discovery frame by frame. By utilising the idiosyncrasies of film and perception of vision, the animator attempts to reconstruct their understanding of reality twenty five times ever...
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| Tipo de documento: | artigo |
| Data de publicação: | 2011 |
| País: | España |
| Recursos: | Universitat Politècnica de València (UPV) |
| Repositório: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | espanhol |
| OAI Identifier: | oai:riunet.upv.es:10251/11682 |
| Acesso em linha: | https://riunet.upv.es/handle/10251/11682 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Tiempo Marioneta Stop-motion Fotogramas |
| Resumo: | [EN] Animation is by nature a time based medium. It is a dissection of time, a fragmentary exploration and journey of discovery frame by frame. By utilising the idiosyncrasies of film and perception of vision, the animator attempts to reconstruct their understanding of reality twenty five times every second. The paradox of this action occurs between the observation of this and the execution of the result. In short this is what the animator experiences and what the inanimate does. This extract is based on my observations as a practitioner in the field of stopmotion animation, and my considerations of the passage of time for me as the illusionist, conjurer and artist, and the time that I shared with the inanimate object. Unaware itself of time the puppets would appear lifeless, static and unconscious, until the camera awoke and shared its moment with the audience. |
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