Matt Jones
Post Five
“Abstract Animation:
Symphony of Motion”
Abstract animation
relies on the relaxation of certain parts of the brain and the openness of viewer
to interpretation of the images.
A) In doing
the readings for this week, I felt that two concepts leapt to the
forefront. The first being the need for
the relaxation of the logic-centric left hemisphere of the brain to allow the
right hemisphere to open up and take in the images presented. The second is the importance of music in
abstract animation.
The
first concept is based on the theory that the left hemisphere of the brain
controls logic and is useful when watching a typical narrative film. This cause-and-effect, linear method of
presentation fits with this area of the brain which controls such logical
thought. However it can be difficult
when watching a piece of abstract animation.
The shutting down of the left hemisphere and the opening up is most
present when sleeping and dreaming.
Because of this, the right hemisphere-centric abstract animation is able
to operate “thematically, rather than literally”. (Furniss, 250) By offering nothing concrete for the
left-hemisphere to rationalize, abstract animation can cause an uninitiated
viewer a feeling of anxiety or immense confusion. However, if the viewer is able to allow
themselves to be put in the right (pun slightly intended) frame of mind, they
may be able escape into the film where interpretations are free to be made in
the mind of the viewer.
The
subject of mandalas also ties into this relaxing of the left hemisphere. Mandalas are symmetrical, often circular
images that “have symbolic meaning...and often are used to assist concentration
and meditation”. (Furniss, 253) Mandalas are thought to work on two levels:
one, allowing those viewing them to ease into a meditative state and two, as
they appear as a recognizable symbol of the subconscious that structures the
experience of meditation. Abstract
animation works in a very similar manner, particularly Opus No. 1 by Walter Ruttman, which will be covered in greater
detail.
Music
in the abstract animated film is an incredibly important ingredient. Many films use known pieces of music to aid
the viewer in the accessing the right-hemisphere of the brain and the
meditative state that it can produce.
The music also acts as a companion to the animation, often in a synchronized
manner. The combination of the visual
and the aural senses was studied by Greek philosopher and mathematician
Pythagoras. Although famous for his eponymous
mathematical theorem, his efforts were conducted to find a connecting the
essence of all matter and life. This
search for connectivity exists in the melding of the abstract animated film and
the music or soundtrack that accompanies it.
B.) After
reading the Moritz essay I became intrigued and sought out Walter Ruttman’s Opus, No. 1:
A full
description of the video would be pointless and would do a great disservice to
the work. It exists as a hypnotic series
of shapes dancing across the screen. The
images exist in a patternless pattern consisting of circular shapes, spectral brushstroke-like
images, and blobs of color crawling along the bottom of the screen. All shapes are accompanied by a string
quartet. The pace becomes more frenetic
as the soft, sometimes amorphous shapes are replaced by a sharp-angled,
triangular shapes penetrating into the screen.
Later, rectangular shapes swipe through the side of the frame,
resembling meat cleavers. This work is
incredible to watch in that it is very hypnotic, yet never grows boring.
C) As
discussed in my second assignment, due to a lack of research on the material, I
have switched my final project slightly.
Now I am writing about the intertextuality found in The Simpsons. There is a
wealth of information on this topic and I believe I may have found a new angle
to the idea of intertextuality as it relates to The Simpsons.
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