This article, drawing on selected feminist magazines of the 1980s, particularly Feminist Arts News (FAN) and GEN, offers a textual ‘braiding’ of narratives to re-present a history of Black British feminism. I attempt to chart a history of Black British feminist inheritance while proposing the politics of (other)mothering as a politics of potential, pluralistic and democratic community building, where Black thought and everyday living carry a primary and participant role. The personal—mothering our children—is the political, affording a nurturing of alterity (...) through a politics of care that is fundamentally antiracist and antisexist. I attempt to show how Black feminist thought can significantly contribute to democracy in the present and how Black British history and thought, as fundamentally antiracist and anticolonial, can generate a reinvention much needed in the present of a shared British history. I argue for feminist intervention premised upon a politics of care, addressing through activist mothering the urgency of Black absence from prestigious institutions. Such debilitating absence in Britain inhibits the development of scholarship, distorts feminist history and seriously concerns potential Black feminists. From diverse texts, I develop a genealogical narrative supplemented through memory work. This ‘gathering and re-using’ privileges Black women's theorising as a crucial component of the methodological metissage, which includes auto-theorising to develop ideas of resemblance in relation to Black British feminism and feminist kinship. The resultant ‘braiding’, I suggest after Lionnet, questions the absence of intersubjective spaces for reflection on Black British feminist praxis, indicating a direction for British feminists of all complexions. Attentive to the 1980s as historical context while invoking the maternal, I consider what is required to engage generationally, counterwrite the academy and pursue a dynamic process of transformation within a transnational feminism that challenges Black British absence from academic knowledge production, while nurturing its presence. (shrink)

Going beyond the creolisation theories of Brathwaite and Glissant, I attempt to develop ideas concerning the gendering of creolisation, and a historicising of affects within it. Addressing affects as ‘physiological things’ contextualised in the history of the Caribbean slave plantation, I seek, importantly, to delineate a trajectory and development of a specific Creole history in relation to affects. Brathwaite's proposition that ‘the most significant (and lasting) inter-cultural creolisation took place’ within the ‘intimate’ space of ‘sexual relations’ is key to my (...) argument. In the light of this, I consider how Creole cultural knowledge about affect—as the primary motivational system inclusive of fear, anger, outrage and so on — might be identified, and what constitutes such Creole knowledge within which affect might be embedded. How might Glissant's relationality and Creole literary texts add to this knowledge? I focus primarily on three texts: Clarke's The Polished Hoe, Collins’ The Colour of Forgetting and Morejón's ‘Amo a mi amo’/‘l Love My Master’. Each text on which I draw is selected for its intersectional representation of gender relations, ‘knowledge about sexual difference’ and its representation of Creole subjectivities within the context problematised here as the ‘demonic ground’. Moreover, as auto-theorising texts, they represent both narrative and meta-narrative of a creolising of affects in and against the economy of the slave plantation. Each represents also a stage or aspect of the development of subjectivities and an affective community that inform this intervention concerned with theorising against consolidated, universalising and Eurocentric conceptualisations of affect. In the process, I attempt to offer a differentiated cartography and literary archaeology of affect. (shrink)

This entry sheds light on the use and meaning of the term "animation" in Spinoza's works. The concept of “animation” figures in the scholium to E2p13, where Spinoza discusses his demonstration of the mind-body union. He writes that “the things we have shown so far are completely general and do not pertain more to man than to other individuals, all of which, though in different degrees, are nevertheless animate [omnia, quamvis diversis gradibus, animata tamen sunt]” (E2p13s, G II/96).

This article highlights a neglected, if not wholly overlooked, topic in phenomenology, a topic central to Husserl’s writings on animate organism, namely, animation. Though Husserl did not explore animation to the fullest in his descriptions of animate organism, his texts are integral to the task of fathoming animation. The article’s introduction focuses on seminal aspects of animate organisms found within several such texts and elaborates their significance for a phenomenological understanding of animation. The article furthermore highlights (...) Husserl’s pointed recognition of “the problem of movement,” movement being an essential dimension of animation if not definitive of animation itself. Succeeding sections testify to “the problem of movement” and the need to address it. They do so by answering the following basic questions: What indeed is livingly present in the experience of movement, whether our own movement and the movement of other animate beings, or the movement of leaves, clouds, and so on? What distinguishes kinesthetic from kinetic experiences of movement? How are movement and time related? Just what is the problem of movement and how do we address it? In what way is movement pertinent to receptivity and responsivity? Throughout these sections the article encompasses phenomenological analyses, elaborations, and implications of animation. (shrink)

The animation-effect of the movement-image constitutes not only a form of life but also a machinic analogue for Husserl's and Kant's accounts of temporality, engendering what Bernard Stiegler calls ‘a cinematography of consciousness’. If autonomous movement is the hallmark of the living being as well as the inanimate mechanism, the movement-image likewise subtends scenes of human and artificial intelligence. Pairing a cybernetic reading of Lacan's mirror stage essay with reflections on the self-recognition dance of Machina Speculatrix (an early example (...) of a biomimetic robot), this essay considers how exosomatic feedback loops enable a kind of ipseity for machinic life as well as the human being as technical being. Despite adopting Derrida's ideas of originary prostheticity and automaticity, rendering living beings as always-already machinic life, Stiegler sets arche-cinema against arche-writing. (shrink)

Animation victims: an abridged history of animated response -- Animated history -- The movement of accessories -- Fabric extensions and textual supplements from modern and antique fragments -- The movement of snakes -- Pneumatic impulses and bygone appendages from Philo to Warburg -- The afterlife of crystals -- Art historical biology and the animation of the inorganic -- Inorganic culture -- Nudes in the forest -- Models, sciences, and legends in a landscape by Léger -- Malicious houses -- (...) Animism and animosity in German architecture and film from Mies to Murnau -- Daphne's legacy -- Architecture, psychoanalysis, and petrification. (shrink)

The animation industry of China has developed windingly almost 50 years in 20 century, finally obtained the eruption -like growth in the beginning 21st century. Talent cultivation is one of the important elements of Chinese Animation industry, thus animation education also obtained the stimulation. More and more fine art schools began to have animation program after 2000. This paper studies a brief history of animation professionals in Fine Art Schools of China, and the relationship between (...) fine art schools and animation subject. However the number of schools expanded, but the quantity cannot guarantee quality of education, most Fine art schools are relying on the University-Industry Collaboration teaching mode, but in the fact beneath the brilliant achievements, fine art schools need to sum up teaching experience and education theory different from animation industry. The period of Animation program expanding in Fine Art Schools is almost over, but the period for education quality is coming. How to improve the animation education quality become the most important situation to all Fine Art Schools have animation program. (shrink)

Written as the introduction to a special issue of Body & Society on the topic of animation and automation, this article considers the interrelation of those two terms through readings of relevant work in film studies and science and technology studies (STS), inflected through recent scholarship on the body. Drawing upon historical and contemporary examples, we trace how movement is taken as a sign of life, while living bodies are translated through the mechanisms of artifice. Whereas film studies has (...) drawn upon work ranging from production history to semiotics and psychoanalysis to conceptualize the ways in which the appearance of life on the cinema screen materializes subjectivities beyond it, STS has developed a corpus of theoretical and empirical scholarship that works to refigure material-semiotic entanglements of subjects and objects. In approaching animation and automation through insights developed within these two fields we hope to bring them into closer dialogue with each other and with studies of the body, given the convergence of their shared concerns with affective materializations of life. More specifically, an interest in the moving capacities of animation, and in what gets rendered invisible in discourses of automation, is central to debates regarding the interdependencies of bodies and machines. Animation is always in the end a relational effect, it seems, while automation implies the continuing presence of hidden labour and care. (shrink)

As its title indicates, this article shows animation to be the fundamental, essential, and properly descriptive concept to understandings of animate life. A critical and constructive path is taken toward an illumination of these threefold dimensions of animation. The article is critical in its attention to a central linguistic formulation in cognitive neuroscience, namely, enaction ; it is constructive in setting forth an analysis of affectivity as exemplar of a staple of animate life, elucidating its biological and existential (...) foundations in animation. (shrink)

This essay deals with Girolamo Fracastoro’s ensouled cosmology. His Homocentrica sive de stellis (1538), an astronomy of concentric spheres, was discussed by the Padua School of Aristotelians. Since the polemics over the immortality of the human soul, which had famously opposed Pomponazzi to Nifo, psychological discussions—including those about heavenly spheres’ souls—raised heated controversies. Fracastoro discussed the foundations of his homocentric planetary theory in a dialogue titled Fracastorius, sive de anima (1555). In a 1531 exchange with Gasparo Contarini, Fracastoro discussed celestial (...) physics, including problems linked to mathematical analysis of physical causation. Contarini expressed his doubts over Fracastoro’s lack of consideration of Aristotelian viewpoints on heavenly souls and intelligences. Fracastoro offered an account of cosmic animation in his later dialogue “On the Soul,” taking a different path than his Paduan teachers. He picked up the Platonic idea of the “world soul,” freely connecting it with Aristotelian views about the ensouled cosmos of concentric spheres, resulting in an eclectic composition of Platonic, Aristotelian, and Averroistic elements. Fracastoro grounded his renewed mathematical astronomy on an understanding of the cosmos as a living whole. His animated homocentric cosmos represented a development of Aristotelian premises and a step beyond this legacy. (shrink)

For VR systems, one of its core parts is to present people with a real and immersive 3D simulation environment. This paper uses real-time computer graphics technology, three-dimensional modeling technology, and binocular stereo vision technology to study the multivisual animation character objects in virtual reality technology; designs a binocular stereo vision animation system; designs and produces a three-dimensional model; and develops a virtual multivisual animation scene application. The main research content and work performed in the text include (...) the research of the basic graphics rendering pipeline process and the analysis and research of each stage of the rendering pipeline. It mainly analyzes the 3D graphics algorithm used in the three-dimensional geometric transformation of computer graphics and studies the basic texture technology, basic lighting model, and other image output processes used in the fragment processing stage. Combined with the development needs of the subject, the principles of 3D animation rendering production software and 3D graphics modeling are studied, and the solid 3D model displayed in the virtual reality scene is designed and produced. This article also reflects the application of virtual reality in multivisual animation character design from the side, so it has realistic value and application prospects. (shrink)

I begin by asking what it is for a moving image to be animated, and thus, what it is for something to be an instance of animated cinema. I next distinguish different kinds of cinematic animation, and explore why, traditionally, so little philosophical attention has been paid to animated cinema per se, and why recent developments in cinematic technology have begun to remedy this deficiency. I comment here on the exchange between Stanley Cavell and Alexander Sesonske over the status (...) of animated movies. I then examine certain epistemological dimensions of animated cinema, and look at the conditions under which animated cinema can be art. I conclude by reflecting on the significance of the use of digital technology in the production of animated cinema. (shrink)

In Sensations of History, James J. Hodge argues that animation in new media art transforms historical experience in the digital age. Combining close textual analysis of experimental new media artworks with discussion of key phenomenological texts, Sensations of History argues for the broad critical significance of animation as we shift from analog to digital technologies. Hodge looks closely at animation aesthetics, which allow for a clear grasp of the ways digital technologies transform our sense of historical experience.

Resumo: A filosofia é um sistema que analisa as crenças, os conceitos mais básicos e a calma de temperamento e julgamento próprios de um filósofo. Os filmes de animação chineses fizeram grandes incursões nos mercados mundiais, nos últimos anos, apesar do fato de o setor de animação da China ser apenas um adolescente em comparação com o seu homólogo de décadas, na filosofia japonesa. Embora alguns estúdios de animação criem conteúdos especificamente para o público internacional, a indústria de animação chinesa (...) está principalmente preocupada com o mercado interno, porque acredita que a animação chinesa de alta qualidade tem potencial para se expandir. Artistas, filósofos e aqueles que trabalham nas indústrias criativas diretamente ligadas a isto têm um incentivo e um desafio para descobrir as histórias que podem ter sucesso nos mercados chinês e internacional. Neste artigo, analisam-se e se contrastam as características das filosofias de animação cinematográfica chinesas. Examinam-se tanto o contexto social quanto o cultural, o desenvolvimento econômico do mercado e o avanço tecnológico que moldaram o design filosófico da animação chinesa. As abordagens filosóficas avaliadas neste estudo são Donghua e Manhua, além da filosofia taoísta, exemplificada em Zhuangzi. (shrink)

The original publication can be found at www.springerlink.com.

Animation is widely acknowledged for dynamically visualizing information and has been increasingly used in educational context. However, the growing presence of educational animation has not been accompanied by well-informed studies that focus on the semiotic features of animation. An emerging perspective influenced by Social Semiotics and Systemic Functional Linguistics greatly complements the current trend of animation studies in the field of science education. Studies taking that perspective model animation as stratified systems (consisting of an expression (...) plane and a content plane) of meaning-making options. Building on their work, this paper further develops the systems of animation on the two planes. Besides the concept of stratification, this paper also introduces a metafunctional perspective for the modeling of animation, focusing on building the ideational meaning system and textual meaning system for animation on the content plane based on an examination of online science animations. It is found that educational animation is not homogenous: animation can construe different human experience and can be used to fulfill different functions. The paper closes with a discussion of the advantages of adopting a stratified metafunctional model in studying animation and the implications for future studies in the field of multimodal semiotics and science education. (shrink)

Cet article propose un regard sur la place des familles au chevet des patients comateux et leur rôle potentiel dans le processus d’éveil, notamment en ce qui concerne le travail de mémoire et le partage d’affect, principalement la honte. Il s’appuie sur l’expérience de travail de plusieurs années d’un psychologue en service de réanimation adulte. La réanimation est un lieu dans lequel la place de chaque objet est pensée en fonction de son utilité pour le soin du patient, mais peu (...) dans la perspective du lien à l’entourage. Certains objets comme la famille sont porteurs de complexité à résonances affectives. L’article montre que cette complexité, si elle est accompagnée par le psychologue et l’équipe soignante, peut jouer un rôle favorable dans le processus d’éveil et dans le travail de réappropriation de son vécu par le patient. (shrink)

One of the most striking features of Giordano Bruno’s philosophy is the marriage of universal animation with atomism. This unusual combination produced an extraordinary image of the universe, which was governed by the World-Soul and its universal intellect along with an infinite number of living atoms or corpuscles, animated by their internal spiritual principle. After examining Bruno’s principal arguments on the World-Soul, universal animation and living atoms or corpuscles, this article explores two possible sources among the works of (...) his near-contemporaries. The first author, Agostino Steuco, tried to reconcile the doctrine of the World-Soul with Christianity, integrating the idea of Anaxagoras on the cosmic mind as the demiurgic agent of the universe. The second figure, Jacob Schegk, further elaborated his unusual atomistic or corpuscular reinterpretation of this Presocratic philosopher’s ideas. (shrink)

In this article, I link Lisa Feldman Barrett's theory of constructed emotion1 to decolonial perspectives that also challenge this universality of affect in cross-cultural facial expressions. After first outlining some of the present-day political stakes of these questions, I turn to Sylvia Wynter on the "ethnoclass of Man" in Western modernity, where she asks: how were concepts of not only being, truth, power, and freedom but also affect—the intelligibility of one's feelings toward others—framed by histories of colonial violence and refusals (...) of imaginative identification?2 Wynter argues that the overrepresentation of the Western ethnoclass results in the naturalization of a limited and contingent mode of being as... (shrink)

The animal that therefore I am (more to follow) -- But as for me, who am I (following)? -- And say the animal responded -- I don't know why we are doing this.

Do poems speak to you? Consider poems in which you encounter the signature version of excited Romantic poetic address that begins with a single letter adorned with its own exclamation mark: “O!” Don’t you imagine that someone is saying (or shouting or whispering or gasping) “O!”? Does it matter that you don’t know who that person might be? Don’t you feel moved to respond, if only silently? Don’t you want to imagine that overseeing or overhearing that address brings you into (...) its range, thus making you feel as if you were joining a collective of such responsive silences? Nineteenth-century American poets often hoped you would feel this way, and most modern versions of poetics still do. But many Black poets in the US in the nineteenth century came to recognize that the lyricizing ambition of the apostrophic address that would come to be identified with Romantic and modern lyric threatened to make lyric poetry’s addressees universally White. Black Romantic poets repeatedly expressed anxieties about apostrophe’s racialized ambitions, though the history and theory of American poetics have both been premised on an ignorance of that expression. (shrink)

In recent years, the animation industry has achieved unprecedented development trends, and many excellent animation works have emerged in China, which are popular with audiences. Among all kinds of animation works, the most important feature is the integration of traditional Chinese philosophical and cultural elements, which leads to the difference between Chinese animation works and other countries. It not only conforms to the aesthetic standards of Chinese people, but also gives play to the traditional Chinese culture, (...) providing a direction for further promoting the inheritance and development of outstanding traditions. With the rise of mobile intelligent terminals, the vigorous development of the Internet era, and the rising demand of people for the existing market, traditional philosophy and culture, as a new business opportunity, has great development prospects in this era. The fashion transformation of traditional philosophy and culture in the animation art is about to attract more attention from capital and entrepreneurs. In animation art design, the most important core concept is artistic creativity. Due to China's lack of originality in animation design for a long time, this paper attempts to revive China's animation art design by applying traditional innovative ideas in the fashion transformation of animation art design schemes. This new artistic expression method is aimed at better expressing the theme of animation activities, maximizing the value of animation works and promoting the development of animation industry. Through the transformation and innovation of traditional philosophy and culture and animation art customization, this paper explores the transformation and innovation of traditional philosophy and culture and animation art customization in order to provide some reference for the development of animation industry. (shrink)