Animate Assembly: Animation and New Life

今天的动画已经扩散到3D模拟和计算模型领域，从经济建模和生态活动到建筑和城市设计，医学和外科手术，教育形式和军事训练计划。它已成为艺术家、细胞生物学家、金融分析师和城市规划者的重要可视化工具。数字动画在个体身体的层面上干预生命过程，以延长和摧毁生命，并在行星现象的巨大规模上干预生命过程。动画的政治背景和后果已经发生了变化，数字动画现在被部署在人权法庭，全球行动主义运动和投机性的未来愿景中。在这种情况下，生活在软件、基础设施和劳动力的巨大网络中陷入动画之中，这需要研究远远超出过去更有限和具体的动画，其中大部分在电影院或电视上展开。数字动画的关键作用的扩大需要重新考虑动画图像的政治和伦理含义，并重新想象将动画作为生命的组成部分意味着什么，以及这一短语的所有本体论和经验共鸣：动画作为一种生活形式，作为一种生活的模型，作为一个网站的生活影响的决定。研究网络将探讨这些新的动画部署的影响从3个角度：动漫，泛灵论，阿尼玛：1。动漫，日本的动画术语，是基于技术想象力。自从电影摄影机发明以来，图像就被技术上动画化了。因此，迪士尼的动画片，俄罗斯的“乘法”和现在全球消费的日本“动画”，这一切都参与了电影设备的各种组件（针屏，魔术灯笼，zoetropes）的“图像设置运动”类型的演变。我们的方法超越了技术动画图像的媒体历史，包括考虑今天的技术引导的想象力，因为它在东南亚的愿景和动画未来的理论化中脱颖而出。思考动漫也是为了反映新的动画形式的出现和快速统治，如AR和VR，将动画体验融入娱乐和日常生活，并考虑动画的材料，特别是液晶，这是一种生命形式。2.基于泛灵论的动画动画是在西方现代性的一场噩梦中遭遇的，它被称为泛灵论。正如M.陶西格表明，在现代民族志和人类学认定为“万物有灵”的社会、文化和实践中不存在万物有灵论。“万物有灵论”暗示了现代经验的一个边界，伴随着文化历史人工制品的移位和拜物教。最近，泛灵论冲动的诊断已经成为当代艺术展览实践中的一个关注点，并在充满活力的物质或面向对象的本体论和思辨唯物主义的思想中找到了回声。动画和物体的新生命困扰着我们对“生命”的看法以及我们与不死/死亡的关系（神经科学）;它引起了对既定二分法的重新思考，如不死/唯物主义，并引发了围绕面向对象的本体论和现实主义魔术的辩论。在古典哲学中，亚里士多德的论文《论灵魂》（On the Soul）被翻译成拉丁文，意为《灵魂》（De Anima），既不意味着技术上的冲动，也不意味着万物有灵论的冲动，而是一种形而上学的冲动，即赋予灵魂。对亚里士多德来说，拥有灵魂（心灵）应被理解为生物的本质，更应被理解为人类的精髓。这股更广泛的理解动画打开动画研究的话语的跨和后人类在当代技术和介导的环境。我们需要评估当前动画环境中阿尼玛的共鸣

Animation today has proliferated into fields of 3D simulation and computational models, in contexts ranging from economic modelling and ecological activism to architectural and city design, medicine and surgery, educational formats and military training programmes. It has become a significant visualization tool for artists, cellular biologists, financial analysts and urban planners alike. Digital animations intervene in life processes at both the level of individual bodies, to prolong and destroy life, and at the vast scale of planetary phenomena. The political contexts and consequences of animation have changed so, that digital animation is now deployed in human rights tribunals, global activism campaigns and speculative future visions. Under these conditions, life is enmeshed in animation in the vast network of software, infrastructure and labour, which require studies far beyond the more limited and specific animation of the past, much of which unfurled in cinemas or on TVs. The expanded critical role of digital animation requires a reconsideration of the political and ethical implications of the animated image and a reimagining of what it means to propose animation as constitutive of life, with all the ontological and experiential resonances of this phrase: animation as a form of life, as a modelling of life, as a site for life-impacting decisions.The research network will explore the implications of these new deployments of animation from 3 angles: Anime, Animism, Anima:1. Anime, the Japanese term for animation, is grounded in Techno-Imagination. Since the invention of the cinematograph, images have been animated technologically. Hence animated cartoons by Disney, Russian 'multiplication' and the now globally consumed Japanese 'anime', which all participate in the evolution of a genre of 'images set in motion' by various components of the cinematic apparatus (pinscreen, magic lanterns, zoetropes). Our approach reaches beyond a media history of technically animated images and includes consideration of today's technologically guided imagination as it comes to the fore in South East Asian visions and theorizations of animated futures. To think about anime is to reflect too on the emergence and rapid domination of new animated forms such as AR and VR, which integrate animated experience into entertainment and everyday life and to consider the materials of animation, notably liquid crystals,which are a type of lifeform. 2. Animation grounded in AnimismAnimation is encountered in the recurrent nightmare of Western Modernity named Animism. As scholars such as M. Taussig show, no such thing as Animism existed in the societies, cultures and practices decreed 'animist' by modern ethnography and anthropology. 'Animism' hints rather at a boundary of modern experience that accompanies the displacement and fetishisation of cultural-historical artefacts. Recently the diagnosis of an animist impulse has become a concern in contemporary art exhibition practices and finds echo in ideas of Vibrant Matter or Object Oriented Ontology and Speculative Materialism. Animation and new life of objects haunt our vision of 'the lively' and our relation to im/mortality (neuroscience); it induces a reconsideration of established dichotomies such as im/materialism and engenders debates around object-oriented ontology and Realist Magic.3. Animation's root in AnimaIn classical philosophy, Aristotle's treatise On the Soul, translated into Latin as De Anima implies neither a technological nor an animist impulse but a metaphysical one, that is, to ensoul. For Aristotle, the possession of a soul (psyche) is to be understood as the essence of living things and more so as the quintessence of human being. This strand of a wider understanding of Animation opens animation studies to discourses of the trans- and posthuman in contemporary technological and mediated environments. We need to assess the current resonances of anima in an animated environment