1. GIF-ANIMATION IN the CONTEXT of PROBLEMS associated with
CONTEMPORARYSCREEN ART Dear reader this article tells the story of GIF
animation, it is not art, and scientific work. At the end of the article I'll give a link
to an interesting site which provides relevant enough animation for our time. But to
You it was not boring to read I will add a funny GIF animated images.
ANIMATION IN the CONTEXT of Problems of MODERN SCREEN ART the
Article is devoted to gif animations, one of the types of contemporary computer
art. We study the problem of the foundations of art criticism. gif animation. These
grounds are defined in the agreement with the mathematically-based nature of
digital art and are discussed in the framework of modern theories of screen art,
based on the recognition of the discreteness (kvantovoi) display view and its
associated conceptof metadiscourse. In the article different pixel photographic and
gif animation as two options for the existence of basic parameters of a digital
Keywords: digital image, pixel and photographic gif animation, quantum nature of
technical representation, subsemilattices border, metadiscourse. Digital
technologies are fundamentally changing the traditional order of production and
consumption of visual images.
Digital photos and computer graphics have their place in the design of printed
materials, websites, computer games. Combined with the fact they have an impact
on our understanding of the plastic arts, changing the ways prof artist and
expanding the area of Amateur art. This, in our eyes, especially fundamentally, so
how in-1's, discovers the danger of distinction of art and imitation art critic and
exposes you to some risk, already seemingly eliminated in evaluation of traditional
painting and analog photos.
In-2, change of technology art in the twentieth century, in fact there is a change of
ontology, in other words the nature of computer art and graphics is quite different,
if the nature of the traditional fine arts, associated with physicality of their own
materials and tools. Because of this special nature program for generating digital
images simplify and accelerate the creative process:challenging acts of doubt,
choice, samples, cancelled and a new selection of even the most primary element
of the artwork — strip teardrop mixed color, disposition and direction of the
stroke, a mixture of pigment — integrated microelectronic circuit.
Moreover, the painter does to a significant extent free from anxiety, inevitable
when traditional manual techniques, when initiated or even completed, the picture
is hopeless tainted becauseof a wrongly made decision. The program gives the
2. possibility to generate a large number of options and the rational choice of visual
pattern, while all others are saved and can be applied in the upcoming.
If you add to this sampling technique, the work though is not limited to the
creation and to finding in the Arsenal of programs suitable "brush", the appropriate
pattern, a suitable curve, matching colour more than wide electric range (color
spaceRGB is 16.7 million colors). The finished piece shows not the skill of the
artist, but faster technological level programs, aesthetic sense and personal taste of
its user. "Anyone can open a fractal program to generate a thousand of fractals —
says Yarosh Nohkan (here and further we use the nicknames under which digital
painters Aya have their creation in the Network. — O. K.)1, — but here is to find
the fractal in the midst of tons of garbage a perfect combination of form and color-
it is art"2. It is possible to think that the problem of creation of highly artistic
visual appearance is to purchase expensive license or — at best — to create their
generating programs. But then it is better to read about the awards not the artist,
and the programmer, that is, as if, outside the competence of the critic.
In General, it is up to the pores, as rich penetration of digital technologies in
photography, painting, graphics, film and request a review of the traditional
foundations of art if not to give a profound analysis of "hybrid" (a phrase a South
American theorist of visual arts Lev Manovich) product, then at least in order to
weed out the wheat from the chaff. In a series of digital graphic arts graphics and
animation are more similar to their traditional counterparts and, apparently, more
than ordinary for the perception and analysis. Even fractal graphics, generated
based on a mathematical formula, it just might be associated with the painting of
abstract expressionism. Pixel and vector graphics, collage, manipulated photos,
enemagra-raphy (gif-animated photo), provoke to take the productfrom the
standpoint of traditional aesthetics as graphics, painting, photography.
But if we apply to the digital chart of the requirements applicable to traditional art,
we risk neglecting its own pros and open and, as a consequence, it is inappropriate
to overestimate or, on the contrary, underestimate their assessment. With this
approach, sophisticated in content and technique of the surrealist works of B. and
S. S. Гуссенса3 Антона4 or Baroque illustrations D. camp to the "divine Comedy"
of Dante Алигьери5 may seem the high-grade artwork and gif-animated avatars A.
Garkushin, pixel flash animations A. Вестердипа6 or cinemagraphic D. Beck and
K. Berg will be taken for techno toy.
Artistic discoveries to happen not in imitation of "great" art, but attempts in
ordinary besprotsentno the object to find its own language. Referring to the
beginnings of the technical revolution in the visual arts, we recall that Jean Méliès
3. valuable for the history of cinema costume first serial production of the "Dreyfus
Case" or bisnovaty "Coronation Edward VII", a farcical sketch Comedy "one Man
band", "Ten ladies of umbrella" and "Journey to the moon", does not claim to
seriousness and depth. We choseto analyze two types of digital images — pixel
graphics and digital photography, combining them in one type of animated image
— gif-animation. Gas 13 (network name Alexey Garkushin, CG-artist from
Krasnodar) deals with bothvector and pixel graphics. Its creation is, for example,
isometric pixel structure for a network of cities (Osmi Home, 2004; Silippine
People, 2005), illustrations for websites (Rewound, 2006), avatars and smilies for
websites and blogs, design stamps, skins for player, EGA-graphics for various
demoparty and electric logs, gif animation (Deviant Chemistry, 2004, Sourceof
inspiration, 077 20). Jamie Beck (Jamie Beck)8 — the American photographer of
fashion, advertising and design gif animated.
In collaboration with Kevin Berg (Kevin Burg), which owns technological
concept, she made several series of photographic gif-animations or cinemarati
(cinemagraphs): Fashion Editorial, NYC, Food (for the company, Gilt Taste), also
a series of portraits and автопортретов9. Unlike A. Garkushin, new York
animators use as primary visual material patterns produced using a bitmap graphics
editor (Paint, ProPaintMobile), and photos. And, in the end, a gif animation is
called electrical process ofthe creation of moving images, stored in GIF (Graphics
Interchange Format). With all of this technology can vary: the technique of
"shimmering pixel" in A. Garkushin, animation, pixel graphics using Adobe Flash
(Flash Pixel art) Dutch painter-Pro-programmer A. Westeria (Aijan Westerdiep),
cinemography D. Beck and K. Berg, Bertha C. M. (Christopher M. Burt), S.
cannon (Sam Cannon), etc.
The overall effect is uncluttered, rhythmically cyclical roll over movement. With
all of this animation pattern is static graphic or photographic field that produces a
few shocking effect, destroying our chronolo-tropical stereotype, or meet for real,
extended in time movement, even if it is delayed to the maximum, or on symbolic
movement marked static (in photo, drawing, painting, sculpture)-cut one phase or
series of phases, as is the case in avant-garde painting of the early twentieth
century, for example, in futurism.
The simultaneous perception of movement-the stillness if can be in certain States
of consciousness (e.g., during sleep), experienced very little discomfort. This is
achieved answered in gif animation by combining static images of deposits (a
series of instant photos, cinematic screen shots, graphic patterns). The combination
occurs in layers, unlike the alternate cinematic animation "frame-by-frame" (frame
by frame) giving the illusion of motion vector. In the animation A. Garkushin
"Deviant Chemistry", for example, 79 layers used in a simple animation Amateur
photos or photo-collages — 3-4 layers.
4. With all this, each frame of the graphic series billet may contain only one element,
which is needed for the end result, and in the photographic frame pattern is
allocated a suitable method of masking the rest of the frame. For example, in the
work of D. Beck "The Neverending commute" are animated only pattern (least
25%) with the image on the viewer moving subway train. More: wall station, stair
jumps, vaults, lighting fixtures, signs-signs not just motionless. Their statics is no
peace in a dynamic world, how it could be cinematic in the plan-frame. They
belong to a different type of representation — photographic, other world —
congealed. When stratified alignment of these parts of the picture are masked, in
the end, keeping your photographic statics next to fast traffic. In cinemagraphic
"There's always time for the paper" similarly animated one tiny pattern — the sheet
of newspaper in the hands of men, sitting in the depth of the garden, everything
else — homogeneous static field fotoreproduktsii.
Twerking Gif Sequence of frames in the gif animation is not horizontal, and depth.
As a result, we have an extraordinary effect "motionless movement", not unfolding
in time, like a flickering instant in the eternity, as a loop (loop) of a series of
layers-"frames" saved in the gif format, there is no beginning or end.
Inside electric their movement forever and constantly. Drops of lemon juice
("Seafood", D. Beck), an endless fall into an oyster shell, filling it, and a quick
subway train ("The Neverending commute") never leaves the station Rockefeler
Center. We will not at this point go into the technological differences animated
images saved in gif format. Art results in each individual case have their aspects
deserve separate and based on consistent parsing. At the moment we are more
important than General technological condition gif animations, generating aesthetic
effect, which brings popular Internet productin the art form and asks him art
approach. The ability of gif-animation to create clear tangible and insurmountable
borderbetween 2 different by his own nature and connected to myself semiotic
fields, showing two types of discourse(graphic / photographic and cinematic)
forces considered in the context of contemporary art theory directed not to the
semiotic total, not on content and semantic region representations, but at its
maximum limit, "empty contact", in the words of a researcher of computer culture
D. V. Галкина10.
This point captures a moment when our audience receptive already there, but not
yet time to partake of the phenomenological properties of the forthcoming object.
This is also the point where another author pole artistic act, there is an intention of
creativity, not allowing in the act of creation of the token, the art object, moreover,
avoiding such permission. The transition from metadiscursive to the discourse are
usually done simultaneously and not seen as a habit of perception to be
immediately saturated, and the habits of expression — here be resolved. But,
according to the view of some modern philosophers, culturologists, art theorists,
linguists, it makes sense to keep in the transition point, in the "absenceof books",
if we relate this definition of M. Blanchot to the discoursein General — not only
linguistic and philological, but also a photographic, graphic, colorful, etc. "The
5. book, says Blanchot, is the Ruse that the energy of the writing, based on discourse
and gave it a never-ending clot its continuity, so that in the limit of separated from
him, there is also the trick of discourse, returns to the culture that threatens her
mutation, which reveals its lack of books. Else — work, by means of which the
letter, modifying the data of culture, "experience, knowledge, in other words
discourse, produces someother productthat will make the newest modality of the
discoursein its integrity and will connect with him, like his decomposing"11.
Holding on to the "lack of books",in other words not allowing the work of a
certain discourse, the act of writing allows you to ask a question about the criteria
of any discourseabout the interpretive criteria of perception, about the criteria of
creative expression. We are interested in the nuances of the challenges we find in
the theory of photo R. Bart, based on the conceptripest and, "tear", "cut",
"sensitive points" in the semiotic field, to the point where waning semiosis
(studium, according to Barthes) and something, not being nothing visible on
photos of objects that "takes off from the stage and pierces me"12. We can say
that, in pursuit of the punctum (although the Creator is more important than to
think that he is"persecuted," 're catching up incomprehensible action repset a), we
find ourselves at the point of metadiscourse as spotless conditions of perception
and awareness. Similar positions is the American critic J. Elkins, exploring
"subsume-eticheskie meta"13 of painting and graphics "Is not an object, not the
subject of a picture, but it is necessary for the appearance of the figure.
This "protocoled", the creation of razlicheniya (the term Zh. Derrida — O. K.)
"pure movement", the establishment of the formal parameters of the separation,
rupture, difference and delay values before visible the content itself, and before the
question arises of the shape, boundaries or area"14. The ontological sense of this
"meta", "land" (J. Elkins), "rupture" (R. Bart), "point contact" (D. V. Galkin) is
disclosed in the action that takes place here and which M. Blanchot oharakterizovat
as "evasion" (evasion of books in the act of writing, creating an endless and
immediately rejects his creation). T. V. This clean Adorno dialectic of creativity
outlines in the definitions of "temporary burning core" of the artwork, this is a
temporary nucleus is formed around the point of contact 2 discursive irreconcilable
forces:"works of art synthesize incompatible, non-identical, rubbing against each
other moments; they truly seek the identity of non-identical and a similar
procedure, development, as their very unity is a moment, not a magic formula for
all the work as a whole..
Artworks are such only in actu because their inherent voltage not terminate in pure
identity of the resultant with the other pole"15. Reaching the desired-undesired
reconciliation of neodenticula, the work takes the form and increasing the number
of "frail, ready to crumble with-holding"16. It adds to the field relics, but removes
us from the truth. "It may well be, says Adorno, that in our days may be, required
of a work, specifically burning themselves with their own temporary kernel
temporary detention, sacrificing her life for the moment of the apparition of the
6. truth and without any traces of disappearing"16. The correctness of Adorno
confirmed by the practice of modern conceptual art. But at the moment is digital
art, and — more generally — software technical art, having, in the words of V.
Flusser "quantum nature", in other words including semiotic gap as a condition of
its own existence. Flusser limits the subject of the photo, but the ontological
condition of the photo there is also a condition of cinematograph and digital art:
"In the world of AIDS all the "waves" consist of grains, and all the "processes"
point situations"17. In other words, the "subsemilattice sky meta" pursued George.
Elkins in the drawings of Jacopo Pontormo and Rembrandt, initially incorporated
into the photographic and digital image. Flusser explains this conceptualdiscrete
nature of the technical, structurally different than the nature of traditional painting
or graphics: "From the point of view of the ontology of classical looks — it's the
abstraction of the first degree, as they are abstracted from a particular world, while
technical images are abstractions of the third degree: they are abstracted from the
text itself abstracted from familiar images, and they, in turn, abstracted from a