Rachel Walls

Abstraction, as an art movement, represents the largest modernisation of visual arts since the Renaissance, reconfiguring how we perceive information on a global scale (Frankel 2012). In shedding representational form and meaning, abstraction presents an evocative sensuality that transcends language and culture. This sensuality provides a strong foothold in commercial visual communications, which has persisted over time. While modern perceptions of the genre demarcate between ‘artistic’ and ‘commercial’ forms of abstraction, the formative period of the genre saw little distinction between art and consumer cultures. Artists such as Len Lye articulate the commercial versatility of abstract animation. Works such as Colour Flight (1956) and Rainbow Dance (1936) exist simultaneously as advertising and art. Fast-forwarding to our modern media experience, abstract animation has faded from the public eye. It has become both an obscure art form and a commercial cipher. Is it possible to brin...

"When we watch animated serials and films, we view characters and backgrounds that have been designed with great care, and are employed frame after frame by a multitude of animators. The characters are drawn off a style sheet or guide; which defines what that character looks like, how it moves and reacts, and this is in most cases adhered to strictly. However, there are certain genres of animation where deviation from the styleguide is used to create an emphasised sense of the uncanny. Breaking away from the normal styleguide has become a common practice for some, and still isn’t on the cards for others. And while it’s less common than not, the usage of intentionally ‘messing with’ the style, proportion and perceived physical/articular capabilities of the animated character – is on the rise. The paper aims to disclose the power of this comedic device."

""There is a very definite gap in marketplace when it comes to therapy toys and edutainment for persons with special needs. The requirements for disability groups can vary, but are not impossible to address. An approach that involves sensory play, game calibration, and adapted interfaces needs to be considered in design. If managed properly, edutainment could be created to suit a variety of special needs groups – without creating a variety of programs. With the market for ‘mainstream’ early learning edutainment waning, there is no reason to shy away from developing interactive solutions that may be implemented in educational and domestic environments. Commonplace conventions of what edutainment means, and what its goals are, must be redefined. The purpose of this paper is to assist with that first – yet essential – step.""

BACKGROUND Although Aboriginal health and social issues are receiving increasing attention from policy and decision makers, very little thought has been given to the needs of Aboriginal and Torres Strait Islander people with disabilities, especially as it relates to ...

The interrogation of diaspora, disaporic nostalgia, and disaporic reconstruction are intertwined in films such as The Incredibles (2004), Wall-E (2008), Fritz the Cat (1972), and Allegro non Troppo (1976). In each of these works, extremely dark and subtle explorations are made into diaspora, its mechanisms, and its fallout. These strikingly different films are purport a happy ending for mankind, even when that happy ending is annihilation. These films share a playful sense of the inevitable; a joy in complete obliteration. This paper details the use of diaspora as a comedic device

Abstraction, as an art movement, represents the largest modernisation of visual arts since the Renaissance, reconfiguring how we perceive information on a global scale (Frankel 2012). In shedding representational form and meaning, abstraction presents an evocative sensuality that transcends language and culture. This sensuality provides a strong foothold in commercial visual communications, which has persisted over time. While modern perceptions of the genre demarcate between ‘artistic’ and ‘commercial’ forms of abstraction, the formative period of the genre saw little distinction between art and consumer cultures. Artists such as Len Lye articulate the commercial versatility of abstract animation. Works such as Colour Flight (1956) and Rainbow Dance (1936) exist simultaneously as advertising and art. Fast-forwarding to our modern media experience, abstract animation has faded from the public eye. It has become both an obscure art form and a commercial cipher. Is it possible to bring this vital art form into a more prominent position? In order to address this question, this paper adopts Inclusive Design as a paradigm in order to develop a case for the modern presentation and creation of abstract animation. It considers the disappearance of abstraction as a design problem – which implies that a solution may be considered.

Themes of diaspora and apocalypse are common in film, and are especially visible in the sci-fi/fantasy genre (par example, Star Trek, Serenity). With the animated universe as ultimate deus ex machina, it is easy to generalise and to speak in parables. However there are some great subtleties and extremely dark explorations to be made in films such as The Incredibles and Wall-e (Pixar). These commercially successful populist films purport a happy ending for mankind, while other auteur works such as Fritz the Cat (Bakshi) and Allegro non Troppo (Bozzetto) offer a playful sense of the inevitable, and a joy in complete obliteration. The purpose of the work is to explore the mechanisms behind the works in contrast, and in doing so, provide a strong perspective on these unique films.s

"There is a very definite gap in marketplace when it comes to therapy toys and edutainment for
persons with special needs. The requirements for disability groups can vary, but are not impossible to
address. An approach that involves sensory play, game calibration, and adapted interfaces needs to
be considered in design. If managed properly, edutainment could be created to suit a variety of
special needs groups – without creating a variety of programs.
With the market for ‘mainstream’ early learning edutainment waning, there is no reason to shy away
from developing interactive solutions that may be implemented in educational and domestic
environments. Commonplace conventions of what edutainment means, and what its goals are, must
be redefined. The purpose of this paper is to assist with that first – yet essential – step."

The paper discusses the process of interaction between German art entity blackhole factory and tranSTURM in the creation of animations for Waterline (2015). The intuitive collaboration of artists across architecture, design, animation and interactive installation will be detailed, work in progress shown, and reflections on process and meaning exchange are discussed.

The paper details both tranSTURM and blackhole-factory through examples of work. It further details the Waterline project practice-led research, and moves into works created by both art groups directly after the research project. The benefits of collaboration are explored in the presentation.

Abstract animation is commonly positioned as a conceptual modern art genre. The cognitive demand of this media – from this position – is one of exclusivity; demanding an informed consumer. When considered from an inclusive perspective, however, it becomes a more accessible set of media. The consideration of potential user engagement as opposed to the intentions of the artist is typical to Inclusive Design. Targeting accessibility, it is commonly applied in areas such as Industrial Design and Architecture. Use in other areas, such as animation, permits considered perception and practice. In creating a new methodology for analysis and creation of media, a new genre is also possible – one of inclusion. As example, this paper will incorporate studies of works in abstract and visual music genres by creators such as Norman McLaren, Oskar Fischinger, and Mary Ellen Bute. This interrogation targets a set of qualities that permit accessible viewing. These attributes are then ready for application in creating accessible media, whilst functioning within abstract genres. This is the conceptual foundation for practice by the artist, and process will be discussed.

When we watch animated serials and films, we view characters and backgrounds that have been designed with great care, and are employed frame after frame by a multitude of animators. The characters are drawn off a style sheet or guide; which defines what that character looks like, how it moves and reacts, and this is in most cases adhered to strictly. However, there are certain genres of animation where deviation from the styleguide is used to create an emphasised sense of the uncanny.

Breaking away from the normal styleguide has become a common practice for some, and still isn’t on the cards for others. And while it’s less common than not, the usage of intentionally ‘messing with’ the style, proportion and perceived physical/articular capabilities of the animated character – is on the rise.

The paper aims to disclose the power of this comedic device.