Animation, Embodiment, and Digital Media: Human Experience - download pdf or read online

By Kenny K. N. Chow (auth.)

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Regarding aesthetics, Wells proposes a relational array between ‘experimental’ and ‘orthodox’ works, with a remark that animation should be inclined toward the experimental side challenging the orthodox regime of live-action movies (Wells, 1998, p. 28). Maureen Furniss meanwhile outlines a continuum of animated images in relation to two extremes, namely ‘abstraction’ and ‘mimesis’. The continuum seems to encompass all different film styles and approaches, with the mimesis end comparable to live-action images (Furniss, 1998, pp.

8). The idea originated from Ferdinand de Saussure’s linguistic work, which suggested that for any linguistic unit there is a link between its concept and its sound pattern, that is to say, a coupling of conception and perception (Saussure, 1983, p. 66). Roland Barthes reviewed and extended Saussure’s idea of linguistic signs to apply to many of our everyday objects, such as fashion items and images in popular media (Barthes, 1973b). , a sound image, a graphic symbol, or a picture) from the mental ‘image’, which refers to concepts in our minds.

28 Introduction Drawing upon the recent discovery of mirror neurons that tends to suggest the connection between an action we see and an action we perform, Stafford states, ‘thought is an image that incites us to re-perform what we perceive’ (Stafford, 2007, p. 148). To Stafford, humans understand an image by perceiving and performing it. All these insightful works contribute to setting forth a trajectory look into the perceptual experience and cognitive operations of animated phenomena. But we still need to import other areas of knowledge about motor action in order to theorize sensorimotor experience in conjunction with cognition.

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