Advanced SearchSearch Tips
Embodiment in Digital Animation in Relation to Media Aesthetics
facebook(new window)  Pirnt(new window) E-mail(new window) Excel Download
  • Journal title : Cartoon and Animation Studies
  • Volume , Issue ,  2015, pp.533-552
  • Publisher : Korean Society of Cartoon and Animation Studies
  • DOI : 10.7230/KOSCAS.2015.41.533
 Title & Authors
Embodiment in Digital Animation in Relation to Media Aesthetics
Cheon, Hea-Hyun;
  PDF(new window)
The environment of images in VR-based animation is constructed to generate and promote interactivity between the images and the viewer without any physical space like a screen, or a monitor. In this process, the images and the viewer are combined as a complex through the media technology, that is, an interface. And it is far more in the case of the animation consisted of the bio-feedback interface closely connecting with the body of viewer. As a result, the viewer experiences a permeable interaction between ego and images world, namely virtual reality. That is different from the way of seeing and interpreting the images from a distance. So it needs to analyse the perception of viewer in the world of virtual images. This paper examines the complex phenomena of both the VR-based animation and the viewer mediated by the interface in light of Media Aesthetics. Media Aesthetics is effective in analysing the phenomena of VR-based animation, for it is concerned with the perception of viewer mediated by the media technology. The perception in VR-based animation is a full-body immersion, or embodied immersion, and it is different from the contemplative immersion in that it is remediated continuously by the technological apparatus. The viewer as an immersant, especially with a bio-feedback interface, can immediately touch and control the images in VR-based animation. Such an immersion, therefore, is new every single moment. And the world of VR-based animation is ultimately constructed through the viewer's full-body, or embodied immersion crossing between the virtual and the real. So the animation is not interpreted, but embodied. And the meaning of it is constructed and reconstructed by the viewer's embodied immersion as an immersant. Here, a new frame of animation more oriented to the viewer's participation as an full-body immersant can be created.
Phenomena of Digital Animation;Media Aesthetics;Virtual Reality;Immersant;Full-body Immersion;Embodiment;
 Cited by
노르베르트 볼츠, 윤종석 역, 구텐베르크-은하계의 끝에서: 새로운 커뮤니케이션 상황들, 문학과지성사, 2000.

레프 마노비치, 서정신 역, 뉴미디어의 언어, 생각의 나무, 2004.

볼프강 벨쉬, 심혜련 역, 미학의 경계를 넘어: 현대미학의 새로운 시나리오, 진단, 전망, 향연, 2005.

제이 데이비드 볼터.리처드 그루신, 이재현 역, 재매개: 뉴미디어의 계보학, 커뮤니케이션북스, 2006.

석혜정, 인터랙티브 애니메이션의 기호학적 분석을 통한 이야기의 상호작용 요소, 만화애니메이션연구, 통권 37호 (2014), pp. 83-106.

Fredric Jameson, Postmodernism: Or the Cultural Logic of Late Capitalism, Durham, NC: Duke University Press, 1991.

Jeffrey Shaw, "Modalities of Interactivity and Virtuality," in T. W. Gaehtgens (ed.), Artistic Exchange, Berlin, 1993, pp. 295-300.

Kenny K. N. Chow, Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness, Palgrave Macmillan, 2013.

Lev Manovich, "The Camera and the World: New Works by Tamas Waliczky," in Continental Drift: Four Frontiers, Prestel-Verlag, Munich/New York, 1998.

Mark B. N. Hansen, New Philosophy for New Media, Cambridge, MA: MIT Press, 2004.

Meredith Bricken, "Virtual Worlds: No Interface to Design,"in M. Benedikt (ed.), Cyberspace: First Steps, Cambridge, MA: MIT Press, 1992, pp. 363-382.

Myron W. Krueger, "Responsive Environments," in AFIPS 46 National Computer Conference Proceedings, Montvale, NJ: AFIPS Press, 1977, pp. 424-433.

Nathaniel Stern, "The Implicit Body as Performance: Analyzing Interactive Art," Leonardo, Vol. 44, No. 3 (June 2011), pp. 233-238. crossref(new window)

Oliver Grau, Virtual Art: From Illusion to Immersion, G. Custance (trans.), Cambridge, MA: MIT Press, 2003.

Steven Holtzman, Digital Mosaics: The Aesthetics of Cyberspace, New York: Simon & Schuster, 1997.

Tamas Waliczky, "The Garden (Amateur Film of the 21st Century)," in K. P. Denker (ed.), Interface 2, Hamburg, 1995.

17., Glen Keane, , 2015년 10월 27일.

18., Tamas Waliczky, , 2015년 10월 27일.

19., Tamas Waliczky, , 2015년 10월 30일.

20., Tamas Waliczky, , 2015년 10월 30일.

21., Tamas Waliczky, , 2015년 10월 30일.

22., Tamas Waliczky, , 2015년 10월 30일.