The debate around the idea of post-criticism has its roots in architectural practice, theory and criticism. As a visual medium, animation arguably can be, and has been, subjected to a similar set of codes and conditions around a framework that both engender and cause debate. This paper argues that post criticism is an unnecessary distraction, and that the need for critical theory around the subject of animation is still relevant and essential to educate and inform a new wave of creative talent to use the medium in robust and exciting ways. To illustrate this, this paper explores the need and willingness for visual artists to embrace moving image and perhaps subvert and reconstitute the meaning of animation, particularly referencing the work of Max Hattler, Robert Seidel and Semiconductor.
With definitions of animation becoming increasingly blurred by the inclusion of new artistic and theoretical practice, production methods and audience expectation, why are more and more visual artists finding the medium a core vehicle to explain their ideas, entertain their viewers and achieve dialogue with their audience? The inclusion of Hattler, Seidel and Semiconductor is of significance as none has received specific formal animation training. Instead, they approach animation from a practical, theoretical and technical perspective that is shaped by a desire to speak to an audience through manipulations of sound and vision, shaped and informed by critical dialogue. Indeed, the absence of a formal prerequisite of knowledge can be argued to be a direct contributing factor to the open-mindedness of their individual approaches.
|Keywords:||Animation, Max Hattler, Robert Seidel, Semiconductor|
Programme Leader, LUSAD, Loughborough University, Loughborough, Leicestershire, UK
There are currently no reviews of this product.Write a Review