Notice bibliographique
Résumé
THE SHARPEST POINT: ANIMATION AT THE END OF CINEMA Edited by Chris Cehman and Steve Reinke Toronto: YYZ Books and Images Festival/Ottawa: Ottawa International Festival, 2005, 288 pp. In his essay World Is a Cartoon: Stray Notes on Animation, video artist Steve Reinke makes it clear that defining something as slippery as animation does not interest him. The Sharpest Point, co-edited by Reinke and film programmer/curator Chris Gehman, is likewise a multiform collection of diverse texts on animation topics rather than an attempt at laying the groundwork for a discipline. Gehman and Reinke offer animation as the leading edge, the sharpest point of moving image culture in the digital age. Through its proliferation both on and off screen, from the web to the digitization of the cinema, animation has been theorized of late as a malleable, post-cinematic, audiovisual, meta-medium capable of encompassing all preceding forms of moving image-making. (For some, making any film with CGI is a work of animation.) As the co-editors put it in their introduction, Animation has become a kind of black hole or singularity through which all of cinematic practice must now pass, emerging forever changed on the other side. Whether or not this formulation survives, it has thrown up a challenge which existing theories of the moving image, traditionally organized around questions related to the characteristics of the photographic image, can scarcely ignore. Reinke's essay offers a concise and intellectually invigorating summary of several major theories of animation (Manovich, Deleuze, Cubitt), while also emphasizing the medium's elusiveness and mystery. He suggests that animation has the potential to signal the death knell of cinema's century-long dependence on not only narrative but on representation tout court. As Cubitt has before him (in his 2005 book EcoMedia), Reinke also connects animation to recent theorizations of the animal in visual culture by focusing on the ontological conundrum posed by a mosquito in Richard Linklater's 2001 film Waking Life. What existential status does the pesky insect have? Did it exist in the indexical reality recorded by Linklater or was it added in post-production? In suggesting that this mosquito-which is quickly exterminated-throws Waking Life into a liminal state between live action and animation, Reinke asserts that animation has yet to be treated as possessing a moral or ethical dimension the way live-action fiction and particularly documentary have been. Reinke's essay foreshadows many of the productive tensions that will arise as themes of the anthology. On first reading The Sharpest Point, I was put off by the eclecticism of the selection, with dense essays rubbing shoulders with short descriptive texts by artists. In addition, there are several scripts and excerpts, accompanied by illustrations and synopses, of animated works by practitioners Libby Hague, Jude Norris, Percy Fuentes, Daniel Barrow, and Jim Trainor. There is also a transcribed oral presentation (Pierre Hebert on animation's relation to other art forms), a journalistic piece on a computer-imaging subculture (John Sobol on the demoscene), and a short essay on a single title, Eric Henry's 1997 video Wood Technology in the Design of Structures (by Daniel Cockburn), thrown into the mix as well. On further reflection I came to accept that the anthology's heterogeneity is necessary, reflecting as it does both the untidy proliferation of the medium into so many different forms and the chaotic state of writing on the subject. Due to the antiquated stigma of animation's near-exclusive association with child audiences, texts that advance a theoretical view have been late in coming. It is a truism to state that the field of academic animation studies is still in its early stages, despite several books, a couple of peer-reviewed journals, a few scholarly anthologies (though The Sharpest Point follows The Illusion of Life: Essays on and A Reader in Studies in being narrowly distributed), and a number of conferences and festivals. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».