Animation: Orthodox vs. Experimental

I find it very interesting how Wells separates what he calls "Orthodox" animation, from Experimental animation. It explains in a relatively simple way the techniques used that separates one form of animation from the other. For instance it makes so much sense to see how orthodox animation is configured and given a certain unity. However, the experimental animation thrives upon the idea of creating abstract connections. The experimental animation also meshes multiple styles of animation to create one giant melting pot of images. Orthodox animation rarely switches styles, not only because it would be confusing, but because it would be unrealistic. Though these things make sense to me right off the bat, I never would have thought of it before.

It may sound naive, but until just recently I figured most every form of animation was simply to draw a picture, photograph it, draw a slightly different picture, photograph it, etc. Now that I know better, animation is more dynamic than I ever could have figured. I find it interesting that dialogue is so important in orthodox animation. I never really realized until now that most of my favorite cartoon characters had catch phrases that repeat at least once an episode. Whereas the experimental mode of animation still relies heavily on sound, it is usually more musically driven than dialogue driven. This not only gets rid of the straightforward feel, but also gives it a more rhythmic and interpretive style.

Less Camera

Cameraless filmmaking is very new and exciting to me. I was always somewhat artistically gifted, but haven't had the chance to take a class like this where my creativity can really run wild. I just love how there aren't many rules set in stone when it comes to making films without a camera. Wether you expose the film with light or mark and paint directly on the film, there are seemingly limitless possibilities to making new and beautiful art. Since this is all so new to me, most every project I'm working on becomes an experiment. I'm sure some projects will come out better than others, because for many of the things we are doing it is hard to tell exactly what our work will come out to look like. For instance, it took me a long time to figure out which rayogram was mine, from all the finished rayograms hanging on the wall. Even though we placed our identifying markers on the film, the actual look was so much different than the anticipated look that it was very tough to tell. So it was surprising, but it was very pleasantly surprising.

I'm really excited about going into class tonight and setting up camp in my creative cave. I plan on putting on some good music and getting in the groove of inking and painting my film stock. I have an image in my head about what I want my finished product to look like, but in reality, I don't expect it to look anything like I think it will. That is one of the things I love so much about this creative process, the project are always evolving and new ideas constantly spring up in my head.

Symatics and Cynesthesia?

Upon reading about synesthesia and cymatics, I wondered how I had never heard about them before. Even though they are both somewhat confusing topics, the subject matter they covered didn't surprise me. In fact I wondered how I hadn't learned about this stuff before. Synesthesia in art refers to the intended use of different senses in order to fully enjoy the art. Some artists attempt to make their films accessible only by means of trying to experience the sound of color, or the image of sound. While this seems to make no sense at all, it really makes for an intriguing type of art. I find it very intriguing that some people actually have a condition called Synesthesia, and that these people constantly associate a one sense with another sense. I know… I'm not very good at explaining it exactly. But I find it almost funny that while some artists actually have synesthesia and can experience this "blurring of the senses", other artists merely try to create art to try and induce a sense of synesthesia to the audience.


Cymatics is the study of sound and the images that are associated with creation frequencies or tones of sound. The perfectly symmetrical, round images made by cymatics reminds me of a kaleidoscope. After watching the lecture on cymatics, it absolutely racked my brain. I tried to wrap my head around the idea that every single sound in the world would create a different image. And even further, the idea that the higher the pitch is, the more intricate the image. It makes me wonder if it would even be possible to catalogue all of the different patterns that can be made due to cymatics. Or is the amount so large that it might as well have infinite possible patterns? Anyways, I would love to learn more about Cymatics, and to see the demonstrations conducted on a larger scale. I know it would be very difficult logistically, but I would like to see how the sand (or any other material that could be discovered to be used) reacts to the vibrations of the sound on a larger platform. But I would love to learn more about cymatcis if it isn't too advanced for my math-incapable mind.