1 - Histor(ies) of Animation
2 - Histor(ies) of Design
3 - Claiming Expanded Practice for Design and Animation.
Looking at Suzanne Buchan and Alice Twemlow
4 - Emigre & 8VO - The Legibility Wars in Graphic Design
Looking at Rudy Vanderlans and Zuzana Licko
5 - Animated Documentary - Barefoot Gen
Looking at Keiji Nakazawa, Mori Masaki and Thomas Lamarre
6 - Outdoor Culture, Design, Creativity and Affect
Looking at NeuBau Forst Catalogue and Jeff Bowman
7 - Tom Gunning - The Cinema of Attractions
Looking at Tom Gunning, Wanda Strauven, Norman Klein and Eric Jenkins
8 - Design, Action and Surface
Looking at Tereza Rullerova and considering design as a mode of performance
9 - Lev Manovich - Software Take Comand
Looking at the first cultural theorisation of After Effects, also considering the Database cinema in the context of his Language of New Media
10 - Graphic Novels - Comics, Essentialism and Unflattering
Looking at Scott McCloud, Marshall McLuhan and Nick Sousanis
11 - Graphesis: Data Visualisation & Infographics in Science, Humanities, Art and Design
Looking at Johanna Drucker, David McCandless and Edward Tufte
12 - Visual and Procedural Rhetoric
Looking at Carolyn Handa, Laurie Gries and Ian Bogost
13 - Japan - The Theory and Appeal of Giant Monsters: Animated Bestiary
Looking at Jase Short, Paul Well and Studio Ghibli
14 - Rick Poynor on JG Ballard (The Covers of Crash)
Looking at Rick Poyner, David Cronenberg (Crash) and Ben Wheatley (High Rise)
15 - Paul Wells - Animation, Subjectivity and Adaptation
16 - Ellen Lupton and Abbot Miller - Deconstructive Design Theory
Looking at Ellen Lupton, N. Katherine Hayles, Mark z. Danielewski and Jacques Derrida
17 - Animation and Film Theory
Looking at General Readings from Animation and Film Theory
18 - Design, Animations and Subliminal Advertising (Past and Present)
Looking at Ellen Lupton, Robert Heath and Brian Key
19 - Maureen Furniss - Animation and Gender Representation
20 - Kristine Niedderer - Making and Breaking Affordance in Design
Looking at Kristine Niedderer, Donald Norman and Experimental Jetset
21 - Matters of Gravity (Supermen and Special Effects in the 20th Century)
Looking at Scott Bukatam
22 - Graphic Design, Politics and Sustainability
Looking at Tony Fry.
In the second part of this lecture we looked at the Histories of Animation, we then started by looking at an animation called the Wolfman by Tim Hope, I found that this animation was about a girl that was walking through the woods as she was doing this the music that was being played alongside the film made it very creepy and quite scary to give it an effect that would stand out to the target audience. The use of slow motion in the animation added an extra to the design that also made it quite scary like the Wolfman was after the girl that walking through the woods. The animation was made in 1999 for a PS2 advert, I found that Tim Hope wanted the design to stand out and was an computer graphics animation that went against its 'realism' of it's time, I think that it definitely did that because he had created an animation that was just like any other animations that I had seen before.
The next animation that we were shown in the lecture was by Emile Cohl called the Fantasmagorie, that was created in 1908. It has often be positioned as the very first animation ever, I found that this animation was very creative and different, but also very hard to understand in places as the animation moved very quickly so I couldn't understand what was happening in some cases. The animation is created using only two colours which are black and white, it is also a silent animation but music is played over to give it a cheery and happy feel to the design. The storyline of the animation was pretty simple to pick up and understand that it was based around a clown; however it moved very quickly for the how short the animation was to fit everything in. I also thought that the illustrations of the film were very simple and basic but easy to see and understand.
After this we then watched an animation that was like a stop motion called Prometheus' Garden, that was created by Bruce Bickford in 1988. I thought that the animation ran smoothly however I wasn't to sure what to think about this animation because I found it a little creepy and scary. Overall it is a very good design, I noticed that the animation and the set was created using something that looked a little like clay or play dough. I think that this design was created using lots of imaginative ideas and styles that are very different to other animations that I have seen and been created by other designers and animators.
The final part that we looked at within this lecture was a Zeotrope which was invented in 1834 by a British Mathematician known as William George Horner. This allowed mass audience viewing and participation through multiple slots on the Zeotrope. I think that this animation is very complex but simple animation, also one of the most creative animations that I have seen in this lecture. It is quite similar to other devices like Phenakistoscope and the Praxinoscope, for the design and animation to work you have to spin the Zeotrope very quickly as it is turning you then can glimpse through the gaps to see the animation work, I think that it is quite clever how it is put together and works. I was very fascinated and interested to see this animation in more detail.
Overall I found that this lecture was very interesting as I learnt a lot about the Histories of Animation in more depth. I think that this is something that I may look back at in the future to see how animation has still changed overtime to remind me of where animation first started.
